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Theatrical costume, its history and features. Theatrical costume: history, types, features

Theatrical costume, its history and features. Theatrical costume: history, types, features

17.07.2019

THEATER COSTUME, performance element. In the history of the theater, three main types of theatrical costume are known: character, play and clothes of the character. These three main types of costume exist at all stages of performing arts - from ritual ritual and folklore pre-theatre to modern artistic practice.

A character costume is a kind of figurative-plastic composition on the figure of the performer, set in motion by him and voiced (by pronouncing the text or singing), sometimes hiding his figure completely, similar to how the mask covered his face. Examples of character costume in rituals and ceremonies of different countries of the world. The bell-shaped silhouette of the Indian costume was a paraphrase of the Nagar Shakhara tower-tent temple and the sacred mountain Menu (the center and axis of the world in Hindu mythology). Chinese - with its shape, design, ornamentation and color expresses the ancient cosmological symbolism of the natural alternation of Light and Darkness, the merging of Heaven and Earth in the act of creating the world. The shaman costume of the peoples of the North embodies the images of a fantastic bird associated with the "upper world" and an animal (an inhabitant of the "lower world"). South Russian is a kind of model of the Universe. In the traditional performances of the Peking Opera, the costume was the image of a formidable dragon, in the Japanese theater "No" - the motives of nature, and in the Baroque era of the 17th century. - Fair or World. If for ritual ritual and folklore performances, character costumes (like all other elements of scenography) were the fruit of the work of anonymous folk masters, then in the 20th century, from its very beginning, artists began to compose them: I. Bilibin - in the opera The Golden Cockerel N. Rimsky-Korsakov (1909), K. Frych - in bure W. Shakespeare (1913), V. Tatlin - in Tsar Maximilian, P. Filonov - in tragedy Vladimir Mayakovsky, finally, K.Malevich - in the project victory over the sun(all three productions in 1913). And then, at the end of the 1910s - the first half of the 1920s. a whole series of character costumes were created by the Italian futurists E. Prampolini, F. Depero and others, O. Schlemmer from the German Bauhaus, and in the ballet - by P. Picasso, who showed grotesque Managers in Parade E. Satie and F. Leger - Negro Deities in Creation of the world D. Millau. Finally, the cubist costume "architecture" of A. Vesnin acquired character significance in the performances of A. Tairov - in Annunciation, his Suprematist compositions on the figures of heroes Phaedra. On other scenes - Y. Annenkov's "shell suits" in the play Gas G. Kaiser and A. Petritsky - in Viy, as well as fantastic collages as character costumes for the performance auditor, which were created by the students of P. Filonov (N. Evgrafov, A. Landsberg and A. Sashin) on the topic of stamps, coats of arms, seals, envelopes, etc. - the character of the Postmaster, recipes, signatures, syringes, clysters, thermometers - the character of the Doctor, bottles , sausages, hams, watermelons, etc. - the character of the Man-Tavern. In the second half of the 20th century costumes as independent visual characters, shown separately from the actors, as an element of scenography, were created by M. Kitaev and S. Stavtseva, and as various kinds of compositions on the figures of actors - K. Shimanovskaya, D. Mataitene, Yu. Kharikov.

A game costume is a means of transforming the appearance of an actor and one of the elements of his game. In ritual and folklore performances, the transformation most often had a grotesque-parodic character, when men dressed up as women, women as men, young men as old men, beauties as witches, or when various animals were depicted. At the same time, everything that was at hand was used: a zhupan, a sheepskin coat, a casing, a sheepskin - always turned inside out, funnier and more amusing, as well as any other, somehow ridiculous, “inverted” clothing, for example, over-shortened pants, an unreasonably wide shirt, stockings with holes, all kinds of tatters, rags, rags, sacks, ropes; everything that nature gave was also used: grass, flowers, straw, leaves. Finally, various artificial decorations were also used for dressing: colored paper, birch bark, foil, glass, ribbons, mirrors, bells, feathers, etc. The techniques of grotesque masquerading passed both into the performances of ancient Greek comedies and into the traditional theater of the East, where they were combined with the actor’s varied play with elements of his costume: long sleeves and pheasant feathers - in the Peking Opera, trains, towels and fans - in the Japanese “But”. Performances of Italian commedia dell'arte, plays by Shakespeare and Lope de Vega were built on endless disguises and disguises. At the end of the 18th century Emma Hart (Lady Hamilton) built her famous dance on the game with a shawl, after which similar techniques (manipulating scarves, bedspreads, veils and other similar elements of the costume) were widely used in the ballet theater of the 19th century, reaching their highest artistic height in the work of L .Bakst, whose sketches of choreographic images included the dynamics of various flying fabrics, belts, scarves, skirts, scarves, raincoats, capes, pendants, garters. On the dramatic stage, the tradition of the costume, which plays along with the movements of the actor, was continued - by means of cubo-futuristic expressiveness - A. Exter in the performances of the Chamber Theater Salome O. Wilde and Romeo and Juliet W. Shakespeare, followed by her student P. Chelishchev and other masters of the early 1920s: V. Khodasevich and I. Nivinsky, I. Rabinovich and G. Yakulov, S. Eisenstein and G. Kozintsev, finally again on the ballet stage, in the productions of K. Goleizovsky - B. Erdman. If during this period play costumes constituted a whole trend in scenography, then in the second half of the 20th century. they were used by artists and directors also quite widely, but out of necessity, as an element of the "palette" of means of expression available to them. Among the authors of modern play costumes are the Georgian artists Sameuli, G. Aleksi-Meskhishvili and N. Ignatov, examples of a similar kind can be found in theaters of other countries: in Poland, the Czech Republic, Germany, Italy.

The costume, as the clothes of the character, being, often, the basis for composing the types of costume discussed above (character and game), in all periods of the historical development of the theater, to a greater or lesser extent, there is an embodiment on the stage of what people wore in a given period . So it was in ancient tragedy, and so it remains in the performances of our day. At the same time, the general evolution of this type of costume was characterized by a movement from the conventional forms of real clothing (in the era of baroque and classicism) to its ever greater historical, geographical, national reliability, accuracy and authenticity. In the theater of naturalism and psychological realism, the costume becomes fully adequate to the character of the character, expresses not only his social status, but also his state of mind. At the same time, both today and in past centuries, the costume remains the subject of special creativity of artists (among whom are the most outstanding masters of fine art and set design) and they compose it (even seemingly everyday everyday costumes, not to mention fantastic ), not only as a separate work, but as an essential component of the performance.

“The costume is the second shell of the actor, it is something inseparable from his being, it is the visible mask of his stage image, which must merge so integrally with him in order to become inseparable ...” A. Ya. Tairov. Theatrical costume is a component of the actor's stage image, these are the external signs and characteristics of the character being portrayed, which help the actor's reincarnation; means of artistic influence on the viewer. For an actor, a suit is matter, a form inspired by the meaning of the role. Just as an actor in word and gesture, movement and timbre of his voice creates a new essence of the stage image, starting from what is given in the play, so the artist, guided by the same data of the play, embodies the image by means of his art.

Tailoring of theatrical costumes Tailoring of theatrical costumes is, first of all, the creation of a personal artistic image, usually such costumes have rich decorations, volume in shape and details. Such a costume plays on its own and creates an unusual atmosphere. Professional tailoring of theatrical and stage costumes imposes a great responsibility so that the style matches the setting - square dance costumes, buffoon costumes, historical costumes (XVII, XVIII, XIX centuries), circus costumes, women's and men's dresses of different times, taking into account exactly the environment for which it is intended use of the suit. Stage clothing has always been and remains bright, interesting and unusual for the audience, which surprises with its luxury, chic and unusualness. But not for fashion designers and real masters. Stage clothing requires constant inspiration from the fashion designer, who plays the role of an artist. The ideal fashion designer is an artist who is also a good psychologist and an excellent seamstress. After all, only in contact with an actor or customer can you create exactly the image that is needed when sewing a theatrical stage costume. Theatrical costumes are sewn on professional sewing equipment, which undoubtedly affects the quality of the costumes. There is a manual refinement of the details of the costume. Suits are sewn according to your individual patterns, so they will fit perfectly on your figure.

Feature of theatrical costumes The theatrical costume should be tailored to fit and not cause the actor anxiety and inconvenience. Work on the costume is carried out by many people - the director, who gives the general characteristics of the desired image, designers, cutters, seamstresses who bring the idea of the costume to life. Usually, before tailoring a suit, more than one fitting is carried out. Approximately a couple of weeks before the performance is shown on stage, the actors rehearse in costume. This is necessary so that they get used to the role more deeply, feel it not only with their soul, but also with their skin. The combination of fabrics in a theatrical costume can be very diverse. These are combinations of coarse calico and burlap, satin and knitwear, knitted details. The choice of fabric also rests on the essence of the performance, on its images. Theatrical costume should not be overloaded with an abundance of details. After all, every ribbon, every button carries some information.

The art of theatrical costume

"The part of the set that is in the hands of the actors is his costume."
French Encyclopedia.

Theater is a synthetic art form that allows us not only to hear, not only to imagine, but also to look, to see. The theater gives us the opportunity to be a witness to psychological dramas and a participant in historical deeds and events. The theater, the theatrical performance is created by the efforts of many artists, ranging from the director and actor to the production designer, because the performance is "the conjugation of different arts, each of which is transformed and acquires a new quality in this plan ...".

Theatrical costume is a component of the actor's stage image, these are the external signs and characteristics of the character being portrayed, which help the actor's reincarnation; means of artistic influence on the viewer. For an actor, a suit is matter, a form inspired by the meaning of the role.
Just as an actor in word and gesture, movement and timbre of his voice creates a new essence of the stage image, starting from what is given in the play, so the artist, guided by the same data of the play, embodies the image by means of his art.

Throughout the centuries-old history of theatrical art, scenery design has consistently undergone an evolutionary transformation, caused not only by the improvement of stage technology, but also by all the vicissitudes of styles and fashion of the corresponding times. It depended on the nature of the literary structure of the play, on the genre of dramaturgy, on the social composition of the audience, and on the level of stage technique.

Periods of stable architectural structures of antiquity gave way to the primitive stages of the Middle Ages, which in turn gave way to royal court theaters with self-sufficient luxury of performances. There were performances in cloth, in complex constructive scenery, only in lighting design, without decoration at all - on a bare stage, on a platform, just on a pavement.

The role of the costume as a "moving" scenery has always been dominant. The point of view on his "relationship" with the actor, time and history, and finally, with his immediate "partner" - the artistic design of the stage, changed.

In the process of the progressive development of the art of modern theater, the innovation of directing, the transformation of the method of artistic design, the role of the art of costume is not waning - on the contrary. With the growth of its younger and more flexible counterparts - cinema and television - the theater, undoubtedly, acquires in search and torment new forms of spectacular techniques, precisely those that would defend and define the theater's position as an enduring value of an independent art form. The costume, as the most mobile element of theatrical scenery, is given first place in this search.

The high modern culture of theatrical art, the subtle and deep directorial work on the play and performance, the talented acting of the actors require from the costume designer who designs the performance, especially careful penetration into the dramaturgy of the performance, close contact with the direction. Modern design is not canonized by the rules. It is individual and concrete in each particular case. “The work of a director is inseparable from the work of an artist. First, the director must find his own answers to basic set design problems. The artist, in turn, must feel the tasks of the setting and persistently seek expressive means ... ".
Theatrical costume is first created by visual means, that is, a sketch.
Theatrical costume sketch

"The part of the set that is in the hands of the actors is his costume."
French Encyclopedia.

Just as an actor in word and gesture, movement and timbre of his voice creates a new essence of the stage image, starting from what is given in the play, so the artist, guided by the same data of the play, embodies the image by means of his art.

The role of the costume as a "moving" scenery has always been dominant. The point of view on his "relationship" with the actor, time and history, and finally, with his direct "partner" - the artistic design of the stage, changed.

The high modern culture of theatrical art, the subtle and deep directorial work on the play and performance, the talented acting of the actors require from the costume designer who designs the performance, especially careful penetration into the dramaturgy of the performance, close contact with the direction. Modern design is not canonized by the rules. It is individual and concrete in each particular case. “The work of a director is inseparable from the work of an artist. First, the director must find his own answers to basic set design problems. The artist, in turn, must feel the tasks of the setting and persistently seek expressive means ... ". Theatrical costume is first created by visual means, that is, a sketch.

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2. Ancient theater costume 5
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5. Theatrical costume of Europe from XVIV. up to modern times 13
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1. What is a theatrical costume?

Theater is a kind of art that cannot exist without an audience, so everything in it is designed for an external effect. Theatrical costume (together with false mustaches and beards, wigs, cosmetics, masks) is part of theatrical make-up. Make-up (from the French "grimer" - "to paint the face") is the art of changing the appearance of an actor for a given role and the means necessary for this.

The theater (and make-up along with it) was born in the depths of the magical syncretic rite of antiquity. People saw in it a healing power that cleanses the body of various passions.

All the peoples of the world since ancient times have holidays associated with the annual cycles of dying and rebirth of nature. These holidays gave life to the theatre.

The ancient Greeks loved and revered the young god Dionysus. The supreme deity - Zeus - they honored only once every four years (Olympic Games); Athena - once every two years; Apollo - once every two years; but Dionysus three times a year. This is understandable: Dionysus was the god of winemaking. In March, people from all Greek cities came to Athens to Great Dionysia. During the week, they made deals, political alliances and just had fun.

The holiday began with the importation of a wooden Dionysus in a boat on wheels. This boat was accompanied by a choir of satyrs-mummers. Therefore, the appearance of this deity has always been associated with dressing up and carnival costumes.

The climax of the holiday came on the third day. On this day, male animals were sacrificed to Dionysus, since he, having been born from the thigh of Zeus, was associated with a purely masculine principle. The victims could be roosters, bulls, but most often goats. When such a "scapegoat" was killed, they sang a sad "goat song" - a tragedy. Then the basket with the intestines and phallus of the goat was carried into the field to fertilize the earth, gradually getting drunk with wine dedicated to Dionysus. Returning home, the carriers of the basket scolded someone (for example, a local politician). Entering the city, they hung a komos (guts of a goat) near the man's house. This action, this crowd and those cheerful songs. which she sang were called komos ("revelers"). This is where the comedy comes from. True, there are other versions of the emergence of the theater.

As for the outfits of the participants in the holiday, it is known that they were animal skins (for greater resemblance to goat-legged satyrs). Later, thanks to the competition of poets on the stage, tragic and comic songs became independent theatrical genres.

2. Ancient theater costume

The official year of birth of the ancient theater is 534 BC. e .. when the tragedy of Thespides was first staged on the Great Dionysia.

By that time, theatrical costume was already very different from everyday. The artist, who at first was only one, went on stage in a magnificent and bright dress. On his face was a mask connected to a wig and equipped with a metal voice resonator located at the mouth. The mask had holes for the eyes. The actor put on shoes in koturny on a high platform. All this was calculated for the remoteness of the viewer, because the Greek open-air theater could accommodate up to 17,000 people. A bright dress, a large mask, high shoes made it possible to see the performer better. The resonator amplified the sound (although the acoustics in ancient theaters were such that a word spoken in a whisper in the center of the stage reached the last rows).

There were up to seventy different types of masks. They were also necessary because all the roles were then played by men. The actor changed the mask in the course of action, when he performed in a new role and when he showed the viewer a change in the mood of his character. The masks conveyed a typical expression of joy, sorrow, swindle, etc. They were made of wood or plaster and then painted.

Color symbolism played an important role. The rulers had purple robes: their wives were white; exiles are black or blue; young men are red; ordinary women are yellow; getters are motley.

Costumes were accompanied by permanent attributes to make the audience more easily recognize the character. The ruler had a scepter, the wanderer had a staff, Dionysus had a flowering branch of plush (thyrsus), Apollo had a bow and arrows, Zeus had lightning bolts, etc.

Thanks to long clothes and high shoes, the tragic actors looked monumental and moved smoothly. Comedians favored shorter and tighter outfits. Depicting satyrs and sileni clung to the back of a ponytail, put on an animal mask (or horns), and this exhausted their makeup. Such clothes allowed them to freely jump around the stage. In Rome, light genres were more loved and tragedies preferred comedy. There, pantomime entered the stage. Circus performances were very popular. Spectators more easily perceived phlyaks (from the Greek "phlyax" - "joke") - parodies of tragedies and comedies; memes - small scenes on everyday topics; atellani - funny improvisations.

The costume has become closer to everyday outfits. True, the color symbolism was still preserved. There were no longer masks in the mimes, and the audience could observe the facial expressions of the actors. Not only men, but also women played in these performances, which increased the erotic moment and created pretexts for public striptease.

Greco-Roman theatrical costume continued to influence stage costume in later times.

3. Theatrical costume of the European Middle Ages

In the Middle Ages, people did not forget the entertainment of antiquity, and almost every Christian holiday was accompanied by a clownish performance inside out: the crown - the jester, the cap - the king.

Histrions roam Europe (from the Latin "histrio" - "actor"), which in France are called jugglers, in England - minstrels. in Germany - shpilmans, and in Rus' - buffoons. They are a theater of one actor, because they know how to act, to sing. walk on a tightrope, juggle. The costume of these people was convenient for acrobatics: leotards, soft shoes, a short girdled tunic, vagants traveled next to the histrions - "tramps": half-educated schoolchildren, seminarians, priests-rasstrigi. Borders as such did not yet exist, and languages did not diverge too far from a single basis, which made it possible to be understood everywhere. The clothing of the Vagants did not differ from the everyday costume of a medieval person.

The Vagants played amusing performances - comu, in which the church was ridiculed in the image of the Mother Fool, because of which representatives of the official religion persecuted the artists.

However, the church also needed to increase the spectacle of its "representations", so a liturgical drama arises right inside the temple. Episodes from the Bible were staged by the priests themselves in their uniforms. But the more the moment of play in these productions increased, the more "indecent" they became within the walls of the church. Therefore, the performance was transferred first to the porch, and then to the square. A new genre appeared - the miracle ("miracle"), representing the miraculous events associated with the Virgin Mary and Jesus. On the basis of the miracle, a mystery ("mystery") appears - a theatrical action, remotely connected with the biblical story.

The characters of the mysteries could be not only the Virgin Mary, Jesus and biblical prophets, but also devils, the devil and just townspeople. Therefore, the costume became more diverse. Christ, the apostles, the prophets acted in the vestments of the clergy. And the performers of these roles themselves could be priests or monks (this was not forbidden). Merchants, artisans and other heroes had the clothes of the townspeople of their time. Fantastic characters dressed up in a complex costume with indispensable attributes such as horns, tails and wolf or ram skins for devils. Personified diseases (Plague, Smallpox), sins (Gluttony, Flattery), virtues (Truthfulness, Hope) could have masks.

However, often no special costumes were made (as well as scenery). The inscriptions "Paradise", "Hell", "God the Father", etc. were quite enough.

Light was the main category of medieval aesthetics, so the most important divine characters were in white and shiny clothes, and the devil's offspring were in black. Vera was dressed in a white dress. Hope is green. Love is in red.

As in the ancient theatrical costume, the heroes had constant attributes: Faith had a cross, Hope had an anchor, Love had a heart or a rose, Avarice had a wallet, Pleasure had an orange, Flattery had a fox tail.

Over time, the theatrical costume became more and more like an ordinary household one, and the household one became more theatrical.

4 Theatrical costume of the countries of Southeast Asia

The syncretism of primitive culture (the inseparability of various types of cultural activity) manifested itself in magical cities, where dances, music, painting, theatrical performances, etc. coexisted side by side in the depths of mythology. e. dancing and pantomime were part of the worship of the gods in ancient India. The epics "Mahab-harap" and "Ramayana", which appeared in the 1st millennium BC. e., formed the basis of the classical theater of India and those countries where Hinduism exists, since these epics are the sacred books of this religion. In various forms (actual theater, puppet theater, shadow theater, ballet) productions of episodes of the Mahabharata and Ramayana still exist. And now they use very bright, expensive costumes, masks or mask-like makeup. There are no scenery, everything takes place in the bosom of majestic nature.

In China, the theater also developed from dance and acrobatic elements that were part of sacred rites. In the 7th-10th centuries, dances on historical and heroic themes interspersed with small theatrical interludes spread. For the first time, special theatrical costumes appeared.

In the 13th-14th centuries, Chinese theater reached its peak in the form of zaju. This mixed performance included music, singing, dance and acrobatics.

There were no scenery, so the actors' play and their appearance were of particular importance. All roles were played by men. The most pathetic scenes were played out in slow motion.

All movements were strictly canonized. The actors themselves spoke about themselves as heroes, determined the time and place of the action.

In the following centuries, the zaju did not die, but was transformed into different forms. As before, there are few props on the stage, and what is there is used polyfunctionally: the table is both a mountain, and an altar, and an observation deck; black flags symbolize wind, red flags fire, etc. Color symbolism is used in make-up and costume: red is courage, white is meanness, yellow is the color of the emperor.

In Japan, several types of theatrical performances have also developed that have survived to this day. Kan'ami Kpetsugu and his son Zeami at the turn of the 14th and 15th centuries created the theater Noh out of disparate song and dance numbers. They themselves were actors, stage directors, authors and composers (and Zeami was also a No theater theorist). Their work came at a time when the way of life of the Japanese was noticeably theatrical: the rulers were people of low birth, and, like all neophytes, they especially adhered to the ritual. The craving for spectacle gave rise to massive tea ceremonies or celebrations of admiring cherry blossoms (which in itself is absurd, because this is something very personal for the Japanese). Noh theater performances have become an obligatory part of ceremonies and receptions. Often many hours (and even many days) performances on historical and heroic themes began to change the course of real events (for example, the course of a holiday). The rulers got used to the images of stage heroes. And the shogun (military dictator) Toyotomi Hideyoshi turned from a big admirer of the No theater into his actor and in 1593, during a three-day performance in honor of the birth of his son, he excelled in ten plays. He played himself.

The Noh theater has the characteristic features that have already been mentioned: the lack of scenery, the slowness of movements in important places of the performance, the male actors. The scenes unfolded before the image of a pine tree on a golden background. The image of a pine went back to the most ancient agrarian magical symbols, and gold personified the sun and the goddess Amaterasu. In addition, such a background symbolized a merger with nature, especially since the actions could go beyond the stage and merge into the real atmosphere of a reception or holiday.

Actor's costume until the 17th century. did not differ from the household costume of the nobility (later it began to be made according to engravings and samples of the XIV-XV centuries). There was a tradition - to give the actors expensive dresses (especially it spread during the time of the theater ruler Toyotomi Hideyoshi). As a result, the Noh theater also became a museum of luxurious attire. Now the oldest outfit stored in the theater is a 15th-century shogun costume.

In 1615, the ruler of Ieyasa Totkugawa issued a code regulating the colors and quality of fabrics. The ban on expensive materials also affected the Noh theatre. The directors began to look for a different figurative expression, no longer due to expensive outfits. The fabric of the costume turned into a symbolic book that could be filled with information. Now the stylized canonical costume of the No theater reveals a characteristic image. Everything in it is symbolic - from cut to embroidery.

Color plays an important role. White means nobility, red belongs to the gods and beauties, pale blue is associated with poise, brown means low birth.

Men play in the Noh theater, so masks and fans are important. The size, coloring, pattern, movement of the fan characterizes the character. The masks are simple but very elegant. They are made from cypress, primed and sanded. The mask is worn over the wig and fastened with ties. The slightest change in lighting or angle gives it a new expression. There are masks of different genders, ages, characters and even fantastic creatures.

5. Theatrical costume of Europe from the 16th century. up to modern times

During the Renaissance, the first permanent troupes working on a professional basis began to appear in Europe. They wander or are nailed to one place. People love to laugh more than cry, so the actors put on light, comic productions, farces and parodies. Wandering comedians continued medieval traditions and (like the entire culture of the Renaissance) turned to the ancient heritage. First of all, such troupes arose in Italy. It was there that the theater commedia dell "arte" appeared, that is, the "comedy of masks".

In the commedia dell'arte there was one scenery - a city street. There was no permanent plot: the head of the troupe (kapokomiko) asked it, and the actors improvised, as in ancient atellani. Those tricks and remarks that caused the approval of the public were repeated and consolidated. The action revolved around the love of the young, which was hindered by the old and helped by the servants.

The most important role in comedy was played by the mask. A black mask could cover the entire face or part of it. Sometimes it was a glued nose or stupid glasses. The main thing is to create a typical face, pointed to a caricature.

There were two requirements for the costume: convenience and comicality. Therefore, on the one hand, it resembled the clothes of medieval histrions, and on the other hand, it was supplemented with characteristic funny details.

For example, Pantalone - a miserly merchant - was always with his wallet. His clothes resembled those of Venetian merchants: a jacket tied with a sash, short trousers, stockings, a mantle and a round cap. But one day the artist went on stage in wide red pants, the audience liked this characteristic detail. As a result, Pantalone and his pants merged so much in the minds of people that over time, the common name of pantaloons for women's underwear was formed from a personal name.

The doctor - another hero of the commedia dell'arte - presented a parody of a scientist and went out in a black academic gown with a lace collar and cuffs. In his hands were always paper scrolls on his head - a wide hat.

The captain, a military adventurer, wore a cuirass, bloomers, over the knee boots with huge spurs, a short cloak and a hat with feathers. His permanent attribute was a wooden sword, which would certainly get stuck in the scabbard when needed.

The most numerous and varied characters were servants (zanni), because it was they who acted as the "engines of progress" in a love conflict. Pulcinella had a huge hooked nose; Harlequin has so many patches that over time they were styled in a checkerboard pattern, Pierrot has a wide white shirt with a cut collar and long trousers; Brighella has a wide white blouse and matching trousers.

This popular theater, thanks to its light plots, was much more popular than the theaters of Shakespeare or Lope de Vega, which gave more preference not to spectacle, but to the depth of content. For the works of Lope de Pega, for example, even the name "cloak and sword comedies" appeared, because the artists really played in them only in everyday costumes modern to the author.

In parallel with the wandering troupes, court theaters also existed, the costumes of which numbered in the hundreds and were distinguished by their high cost. They were shown separately from the performance of the play.

In the XVII-XVIII centuries, the development of theatrical costume declined. The word comes to the fore, the dialogues absorb all the attention of the audience. On the stage, a household costume is used, devoid of historicism. This is the usual fashionable suit of the time. True, in the play you will not see a ragged servant or a badly dressed shepherdess. The costume is ennobled. This is a consequence of the theatricalization of life. The theater is so deeply embedded in everyday life that the boundary "theatrical - everyday" costume is erased. It should be noted that in the XVII-XVIII centuries, theatrical costume often determines fashion (which has already been mentioned in previous chapters). The actors dressed better and more extravagantly than others. In the 17th century for Monsieur a la fashion, special audience seats were arranged on the stage, where they not only watched the performance, but discussed the artists and their costumes.

In the 17th-18th centuries, synthetic genres flourished: opera, ballet, circus (although they were known before). These genres include dramatic action, stunts, music, singing, and bright, memorable make-up. Synthetic genres absorb elements of everyday life. For example, the cancan ballroom dance (French cancan) with a characteristic high tossing of the legs arose around the 70s of the 18th century. Gradually, it becomes an integral part of the operetta - a musical and dance comedy genre.

In the 19th century, interest in history was revived in all areas of culture. Thanks to archaeological and literary finds, it was possible to learn more about the costumes of antiquity, therefore, in historical plays, for the first time, attempts are made to reproduce the original costumes of the past.

The development of critical realism as a method of art and a way of perceiving the world leads to the fact that on the stage you will no longer see peasant women in peignoirs and starched servants. Such props appear in the theater, which were not mentioned aloud in polite society before. The search for new forms of expression leads to naturalistic make-up. Here is what V. A. Gilyarovsky writes in his essays about Moscow and Muscovites:

"In 1879, a boy in Penza at the theater hairdresser Shishkov was a student, little Mitya. He was the favorite of the Penza entrepreneur V.P. Dalmatov, who only allowed him to touch his hair and taught him makeup. Once V.P. Dalmatov in his benefit performance staged "Notes of a Madman" and ordered Mitya to prepare a bald wig, who brought a wet bull's bladder to the performance and began to put Dalmatov's well-groomed hair on... At the cry of the actor, the actors ran into the dressing room.

- You are a great artist, Vasily Panteleimonovich, but let me be an artist of my own business! - raising his head at the tall V.P. Dalmatov, the boy justified himself. - Just try it on!

V.P. Dalmatov finally agreed - and in a few minutes the bubble was put on, in some places greased, and B.P. Dalmatov’s eyes shone with pleasure: a completely naked skull with his black eyes and expressive make-up made a strong impression.

At the turn of the 19th and 20th centuries, the trend of modernism gives rise to new forms of theatrical costume. Outfits are stylized, turning into symbols. Europeans discovered the theaters of the East, which was reflected in the stage costume.

In the first years after the October Revolution, the theatrical costume completely disappeared, it was replaced by "overalls", since the actors are "workers of theatrical labor."

Gradually, everything went back to normal, and the theatrical costume returned to the stage again. Moreover, in the XX century. there was such a new spectacle as the theater of fashion. Model shows have turned into musical drama shows. So the household costume was finally openly "married" with the theater.

List of used literature

2. Gelderod M. de. Theatre: Sat.: Per. from fr. / Post-last. L. Andreva, p. 653-694

3. Comment. S. Shkunaeva; Artistic N. Alekseev. -M.: Art, 2003. -717 p.

4. De Filippo E. Theatre: Plays: Per. with it. /Later. L. Vershinina, p. 759-775; Artistic N. Alekseev. -M.: Art, 2007. -775 p.