History on how "Classical Ballet" (how we know it now) came around.
George Balanchine developed one final category of tutu styles, known as the powderpuff tutu. It is similar to the Classic tutu, but does not have hooping, and contains fewer layers of tulle, making it softer and more flowing than the traditional Pancake tutu.
George Balanchine, born Georgi Melitonovitch Balanchivadze in St. Petersburg, Russia, is regarded as the foremost contemporary choreographer in the world of ballet. At the age of nine, he was accepted into the ballet section of St. Petersburg's rigorous Imperial Theater School, and, with other young students, was soon appearing on the stage of the famed Maryinsky Theater in such spectacles as The Sleeping Beauty (his favorite). He graduated with honors in 1921 and joined the corps de ballet of the Maryinsky, by then renamed the State Theater of Opera and Ballet.
In 1970, U.S.News and World Report attempted to summarize Balanchine's achievements: "The greatest choreographer of our time, George Balanchine is responsible for the successful fusion of modern concepts with older ideas of classical ballet. Balanchine received his training in Russia before coming to America in 1933. Here, the free-flowing U.S. dance forms stimulated him to develop new techniques in dance design and presentation, which have altered the thinking of the world of dance. Often working with modern music and the simplest of themes, he has created ballets that are celebrated for their imagination and originality. His company, the New York City Ballet, is the leading dance group of the United States and one of the great companies of the world. An essential part of the success of Balanchine's group has been the training of his dancers, which he has supervised since the founding of his School of American Ballet in 1934.
Balanchine himself wrote, "We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician." Balanchine always preferred to call himself a craftsman rather than a creator, comparing himself to a cook or cabinetmaker (both hobbies of his), and he had a reputation throughout the dance world for the calm and collected way in which he worked with his dancers and colleagues.
Sunday, 9 May 2010
Where did tutu come from?
Where did "Tutu" come from?
The origins of the term “tutu” are not as elegant, beautiful and romantic as the garment itself. In fact the term tutu seems to have stemmed from a vulgarity.
Legend has it that the term tutu originally came from a slang word used by commoners who attended ballet performances in the mid-1700s. Typically the rich elite would sit on the upper levels of the ballet theatres and look down on the performances, while the working-class, common folk would sit on the floors below the stage and look up at the dancers as they performed. Unfortunately ballerinas in the 18th century were not blessed with the new-fangled undergarments we now have today, which meant that often during performances the crowd sitting below the stage got more out of the performance than they bargained for.
Tutu was a name given to the area that was often seen by the commoners under the ballerinas’ skirts. So, in fact, the word tutu was intended as a slang word similar to “crotch." Though designers eventually figured out a way to eliminate this embarrassing costuming problem, the name tutu stuck.
Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer’s feet, these skirts eventually migrated north.As ballet became more and more popular two types of tutu emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu).
The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance “en pointe”.The tutus worn by Taglioni were often cut to below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status.
To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance.As ballet continued to become more popular connoisseurs of the art form demanded to see more when it came to the intricate dance movements that dancers performed. Again the tutu shrank. The style of tutu commonly referred to as “classic” is a short, stiff skirt that juts out horizontally from a ballerina’s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancers body.
Both romantic and classic tutus are designed to give ballerinas a light, airy look, making look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago.
The origins of the term “tutu” are not as elegant, beautiful and romantic as the garment itself. In fact the term tutu seems to have stemmed from a vulgarity.
Legend has it that the term tutu originally came from a slang word used by commoners who attended ballet performances in the mid-1700s. Typically the rich elite would sit on the upper levels of the ballet theatres and look down on the performances, while the working-class, common folk would sit on the floors below the stage and look up at the dancers as they performed. Unfortunately ballerinas in the 18th century were not blessed with the new-fangled undergarments we now have today, which meant that often during performances the crowd sitting below the stage got more out of the performance than they bargained for.
Tutu was a name given to the area that was often seen by the commoners under the ballerinas’ skirts. So, in fact, the word tutu was intended as a slang word similar to “crotch." Though designers eventually figured out a way to eliminate this embarrassing costuming problem, the name tutu stuck.
Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer’s feet, these skirts eventually migrated north.As ballet became more and more popular two types of tutu emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu).
The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance “en pointe”.The tutus worn by Taglioni were often cut to below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status.
To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance.As ballet continued to become more popular connoisseurs of the art form demanded to see more when it came to the intricate dance movements that dancers performed. Again the tutu shrank. The style of tutu commonly referred to as “classic” is a short, stiff skirt that juts out horizontally from a ballerina’s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancers body.
Both romantic and classic tutus are designed to give ballerinas a light, airy look, making look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago.
History of Tutu
History of the Ballerina Tutu
The ballerina tutu has been called one of the greatest costume inventions of all time. It is just that, a brilliant “invention”--unlike any garment otherwise known.
Anatomy of a Ballerina Tutu
A ballet tutu presents major construction challenges:
· The ballet tutu must be beautiful—yet durable.
· The ballet tutu must fit like a glove—yet allow a full range of freedom in movement.
So, some really brilliant costumers developed a way to piece together different elements to overcome both of these challenges.
Ballet Tutu Bodice
The ballet tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias which gives fabric some stretch. The ballet tutu bodice is a separate piece of the ballet costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.
The Tutu Basque
The ballet tutu basque is the piece that sits from the waist to high on the hip. It can be continuous with the bodice or a separate, tight fitting fabric “band.”
The Tutu Skirt
The ballet tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell. These different tutu styles will be explained in the next section.
Ballet Tutu History and Styles
The Romantic Tutu Skirt
The first ballet tutu is credited as appearing in Paris in 1832 on Marie Taglioni in La Sylphide. Her tutu skirt (see right) was cut above the ankle to show her famous legwork. This first ballet tutu style was dubbed, "The Romantic Tutu”. This romantic style occurred during the “Romantic” period in ballet costume history.
Romantic Tutus are long, floating and ethereal. They are usually 3 – 5 layers of soft tulle.
There are 2 types of Romantic Tutu. In the first type of Romantic Tutu, the skirt begins at the waist. The second type of Romantic Tutu is a dropped waist version. The skirt begins at the high hip and is called a Romantic Tutu with Basque.
http://www.classacttutu.com/
The Classical Tutu Skirt
Historically, after the Romantic Tutu, came the Classical Tutu. The Classical Tutu was born from the viewers’ request to see more of the intricate movements that dancers were starting to perform. The Classical Tutu skirt jutted out horizontally from the dancer’s hips and showed more of the leg. This style of ballerina tutu was first worn by the Italian ballerina Virginia Zucci in the 1880s. This first Classical tutu ended just above the ballerina’s knees and looked more like the current Bell tutu skirt or even Romantic tutu skirt.
http://www.classacttutu.com/
As the years went by the Classical Tutu skirt shrank to show more and more of the feet and legs. Today, there are two main styles of what is known as the “Classical” Tutu: the very flat Pancake / Platter / Plate or Russian design-this ballet tutu skirt goes by many different names! and the softer Powderpuff or “Balanchine” style of Classical Tutu.
The tutu skirt ruffles on Classical Tutus are placed on knickers. The pancake style Classical Tutu has a wide, flat tutu skirt, is hooped, and is tightly tacked. It is made of stiff tutu netting.
Hooping is stiff petticoat wire inserted into a casing in one of the central ruffle rows. Hooping aids in keeping the tutu’s flat, stiff shape.
http://www.classacttutu.com/
Powderpuff Classical Tutu Skirt
The “Powderpuff” style of Classical Tutu has a softer look. It is not hooped, has a shorter skirt and is tacked more loosely. It can be made of softer tulle (like the romantics) or a combination of net and tulle.
Bell Tutu Skirt
Another ballet tutu fashion is the Bell Tutu. The Bell Tutu is named for its bell like shaping and is combines features of the Romantic and Classical tutu skirts. The Bell Tutu has shorter, more numerous tutu skirt layers than the Romantic and longer and less numerous tutu skirt layers than the Classical Tutu. The Bell has no hoop and is very loosely tacked. It can be made of softer tulle like the Romantic or net like the Classical or a combination of both. Like the Classical Tutu, it has ruffles that are stitched onto the knickers.
http://www.classacttutu.com/
The ballerina tutu has been called one of the greatest costume inventions of all time. It is just that, a brilliant “invention”--unlike any garment otherwise known.
Anatomy of a Ballerina Tutu
A ballet tutu presents major construction challenges:
· The ballet tutu must be beautiful—yet durable.
· The ballet tutu must fit like a glove—yet allow a full range of freedom in movement.
So, some really brilliant costumers developed a way to piece together different elements to overcome both of these challenges.
Ballet Tutu Bodice
The ballet tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias which gives fabric some stretch. The ballet tutu bodice is a separate piece of the ballet costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.
The Tutu Basque
The ballet tutu basque is the piece that sits from the waist to high on the hip. It can be continuous with the bodice or a separate, tight fitting fabric “band.”
The Tutu Skirt
The ballet tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell. These different tutu styles will be explained in the next section.
Ballet Tutu History and Styles
The Romantic Tutu Skirt
The first ballet tutu is credited as appearing in Paris in 1832 on Marie Taglioni in La Sylphide. Her tutu skirt (see right) was cut above the ankle to show her famous legwork. This first ballet tutu style was dubbed, "The Romantic Tutu”. This romantic style occurred during the “Romantic” period in ballet costume history.
Romantic Tutus are long, floating and ethereal. They are usually 3 – 5 layers of soft tulle.
There are 2 types of Romantic Tutu. In the first type of Romantic Tutu, the skirt begins at the waist. The second type of Romantic Tutu is a dropped waist version. The skirt begins at the high hip and is called a Romantic Tutu with Basque.
http://www.classacttutu.com/
The Classical Tutu Skirt
Historically, after the Romantic Tutu, came the Classical Tutu. The Classical Tutu was born from the viewers’ request to see more of the intricate movements that dancers were starting to perform. The Classical Tutu skirt jutted out horizontally from the dancer’s hips and showed more of the leg. This style of ballerina tutu was first worn by the Italian ballerina Virginia Zucci in the 1880s. This first Classical tutu ended just above the ballerina’s knees and looked more like the current Bell tutu skirt or even Romantic tutu skirt.
http://www.classacttutu.com/
As the years went by the Classical Tutu skirt shrank to show more and more of the feet and legs. Today, there are two main styles of what is known as the “Classical” Tutu: the very flat Pancake / Platter / Plate or Russian design-this ballet tutu skirt goes by many different names! and the softer Powderpuff or “Balanchine” style of Classical Tutu.
The tutu skirt ruffles on Classical Tutus are placed on knickers. The pancake style Classical Tutu has a wide, flat tutu skirt, is hooped, and is tightly tacked. It is made of stiff tutu netting.
Hooping is stiff petticoat wire inserted into a casing in one of the central ruffle rows. Hooping aids in keeping the tutu’s flat, stiff shape.
http://www.classacttutu.com/
Powderpuff Classical Tutu Skirt
The “Powderpuff” style of Classical Tutu has a softer look. It is not hooped, has a shorter skirt and is tacked more loosely. It can be made of softer tulle (like the romantics) or a combination of net and tulle.
Bell Tutu Skirt
Another ballet tutu fashion is the Bell Tutu. The Bell Tutu is named for its bell like shaping and is combines features of the Romantic and Classical tutu skirts. The Bell Tutu has shorter, more numerous tutu skirt layers than the Romantic and longer and less numerous tutu skirt layers than the Classical Tutu. The Bell has no hoop and is very loosely tacked. It can be made of softer tulle like the Romantic or net like the Classical or a combination of both. Like the Classical Tutu, it has ruffles that are stitched onto the knickers.
http://www.classacttutu.com/
Saturday, 8 May 2010
Reflection of Fitting
Reflection on Fitting
I am really pleased how my fitting went, i didn't have to make any major alterations. A couple of seams on the bodice to make it more of a "second skin" and re align the plate.
The plate was the most obvious area that needed correcting. I had fitted it off the mannequin which had meant it wasn't straight down the CB and didn't match up (refer to "technical side of fitting photos to see.") I hadn't thought about putting it on the mannequin, because i had already drafted it on the mannequin with the calico pattern i thought it would line up. I have learnt that when a garment is always changing (tutu moving, squashing, stringing, bending) when putting a plate onto a temperamental garment its more effective to take all precautions. Plus when it is on the mannequin it is in the shape of the body and it will sit on the body differently to off the mannequin. I will be taking this away with me in my future constructing skills and in year three. By taking the "longer" route will benefit how well the garment fits to the body. In dance wear it is more obvious than some other costume areas.
At the fitting, to me, it is a visual conclusion on how well i have grabbed this new area of construction over all i am really pleased how it fits and how it looks. To be thrown into the deep end in a completely new area of construction, i did wonder at times how it was supposed to look (as i had no idea) but as it has gone on i have learnt how the tutu layers, knickers, waistband and basque are meant to look together. I can relate the bodice to costumes i have done before-but with more panels.
Over the past weeks i have learnt a lot about myself and my strenghts and faults. I thought my organisation skills were really good. I do still think i am good at time management, but little areas that let me down which results some areas of my organisation to be really messy. Such as having two note books, referring back and forth is messy and confusion i could do without.
It has also taught me that i shouldn't be too worried about taking on a new challenge, as i have learnt so much that i can take away with me in my 3rd year and industry years, not just about dance construction, about construction that i can use in other costumes. Alternative way of thinking that will make the garment fit better.
I have set myself time schedules that sometimes may be pushing myself, i like to have at least 2 days "fall back" in case something goes wrong i have scheduled time in for areas that might have gone wrong. I find myself rushing sometimes, which makes me make silly mistakes, when i do have enough time to take my time. I think that will come with confidence, its getting there, this unit has taught me a lot.
I am really pleased how my fitting went, i didn't have to make any major alterations. A couple of seams on the bodice to make it more of a "second skin" and re align the plate.
The plate was the most obvious area that needed correcting. I had fitted it off the mannequin which had meant it wasn't straight down the CB and didn't match up (refer to "technical side of fitting photos to see.") I hadn't thought about putting it on the mannequin, because i had already drafted it on the mannequin with the calico pattern i thought it would line up. I have learnt that when a garment is always changing (tutu moving, squashing, stringing, bending) when putting a plate onto a temperamental garment its more effective to take all precautions. Plus when it is on the mannequin it is in the shape of the body and it will sit on the body differently to off the mannequin. I will be taking this away with me in my future constructing skills and in year three. By taking the "longer" route will benefit how well the garment fits to the body. In dance wear it is more obvious than some other costume areas.
At the fitting, to me, it is a visual conclusion on how well i have grabbed this new area of construction over all i am really pleased how it fits and how it looks. To be thrown into the deep end in a completely new area of construction, i did wonder at times how it was supposed to look (as i had no idea) but as it has gone on i have learnt how the tutu layers, knickers, waistband and basque are meant to look together. I can relate the bodice to costumes i have done before-but with more panels.
Over the past weeks i have learnt a lot about myself and my strenghts and faults. I thought my organisation skills were really good. I do still think i am good at time management, but little areas that let me down which results some areas of my organisation to be really messy. Such as having two note books, referring back and forth is messy and confusion i could do without.
It has also taught me that i shouldn't be too worried about taking on a new challenge, as i have learnt so much that i can take away with me in my 3rd year and industry years, not just about dance construction, about construction that i can use in other costumes. Alternative way of thinking that will make the garment fit better.
I have set myself time schedules that sometimes may be pushing myself, i like to have at least 2 days "fall back" in case something goes wrong i have scheduled time in for areas that might have gone wrong. I find myself rushing sometimes, which makes me make silly mistakes, when i do have enough time to take my time. I think that will come with confidence, its getting there, this unit has taught me a lot.
Fitting Technical Side
Fitting
Overall the fitting went really well, i was really pleased with how my costume fit my dancer. I asked my dancer to get changed behind a curtain and to put the tutu on, and i would do the bodice up. Unfortunately as the tutu and bodice looked securely attacked, she pulled it up by the bodice so the swing catches all ripped and the bodice came off the tutu. This effected the sit of the bodice in relation to the tutu. I took the bodice off, re pinned the CF to the CF of the basque so they sat properly.
The knickers and the basque fit really well which i was really pleased about. The bodice fit well, but to make it more like a "second skin" i took a few of the seams in
When i put the plate on i didn't attach it when it was on a mannequin, this was a mistake, i thought as i had drafted it already, if i lined the CB and CF up it would automatically sit right. This wasn't the case. The CBs hadn't fallen right in relation the the circumference and the placement of the plate around the waist.
I will be taking the plate off and re placing it on the stand. Hopefully that will help with how it sit.
I took in either sides about half an inch at the front:
I also took the back in about 2 8ths of an inch either side, up the diagonal safety pin:
The shoulder straps looked fine but I re marked the seams. I asked her to raise her arms, and the shoulder straps felt tight she said, so i slightly make it looser by 1 8th of an inch both shoulder.
Arm hole i made slightly wider by 1 8th of an inch on the back. The front i left.
Both pictures after alterations:
Overall the fitting went really well, i was really pleased with how my costume fit my dancer. I asked my dancer to get changed behind a curtain and to put the tutu on, and i would do the bodice up. Unfortunately as the tutu and bodice looked securely attacked, she pulled it up by the bodice so the swing catches all ripped and the bodice came off the tutu. This effected the sit of the bodice in relation to the tutu. I took the bodice off, re pinned the CF to the CF of the basque so they sat properly.
The knickers and the basque fit really well which i was really pleased about. The bodice fit well, but to make it more like a "second skin" i took a few of the seams in
When i put the plate on i didn't attach it when it was on a mannequin, this was a mistake, i thought as i had drafted it already, if i lined the CB and CF up it would automatically sit right. This wasn't the case. The CBs hadn't fallen right in relation the the circumference and the placement of the plate around the waist.
I will be taking the plate off and re placing it on the stand. Hopefully that will help with how it sit.
I took in either sides about half an inch at the front:
I also took the back in about 2 8ths of an inch either side, up the diagonal safety pin:
The shoulder straps looked fine but I re marked the seams. I asked her to raise her arms, and the shoulder straps felt tight she said, so i slightly make it looser by 1 8th of an inch both shoulder.
Arm hole i made slightly wider by 1 8th of an inch on the back. The front i left.
Both pictures after alterations:
Notes
Note Books:
I have been taking notes down in two different note books. This hasn't helped my planning and organisation. I will make sure i will have a fresh note book for any future projects in year three and in the industry.
I needed to find some notes i had taken in the beginning, i couldn't find my note book as i hadn't used it in a while, so i had it took time up that wasn't necessary.
I have been taking notes down in two different note books. This hasn't helped my planning and organisation. I will make sure i will have a fresh note book for any future projects in year three and in the industry.
I needed to find some notes i had taken in the beginning, i couldn't find my note book as i hadn't used it in a while, so i had it took time up that wasn't necessary.
Wednesday, 5 May 2010
Week 4-5
Workshop 4:
Preparing for the fitting
Re-Do Bodice
Plate draping+cut
We spoke about preparing for the fitting which was good, as then i knew where i stood in what i needed to do before the fitting and after.
We all decided to do extra work this week to help us for next week, the week before hand in. Which i think is a really good idea. We can chose to do it or not, but i thought i would use my time effectively.
I have had 2 weeks to drape the plate, cut and mark the design lines in. I enjoyed learning how to drape the plate, as it has to go on top of the tutu it has to be draped as a whole, you cant just do half and expect it will be the same as each part of the tutu lays differently because of the pleats and how it falls on the body.
We put all of out bodices on the stand. The fabric has ripples in places that didn't look professional enough to give to the client, so we took the bodices apart and put stayflex in between the two layers which helped give structure.
This has taught me that if i notice something like the fabric manipulating whilst i am working with it, i need to make a decision before it gets too far past the point of return. Luckily i was ok to take out the tacking and seams and make that change.
We all did the plate individually, and marked on the design lines. But once they where all done, it was noticed that the design lines all varied slightly. As we are doing it for a company we need them to look identical, and make sure the client is happy with them all looking as if they are a group of costumes.
Draping the plate in calico first to get the pattern, we could also draw the design on the pattern too which helped. Once i was happy with the draping of the calico, i took it off and used the template to cut out my net and top fabric. I attached my net where i have zig zag stitched the basque to the net. I used a back stitch so it would be secure, and if everything fits ok, i wont have to take it back off. I attached the plate the same way, but not as secure so i can take it off for the fitting easily.
Preparing for the fitting
Re-Do Bodice
Plate draping+cut
We spoke about preparing for the fitting which was good, as then i knew where i stood in what i needed to do before the fitting and after.
We all decided to do extra work this week to help us for next week, the week before hand in. Which i think is a really good idea. We can chose to do it or not, but i thought i would use my time effectively.
I have had 2 weeks to drape the plate, cut and mark the design lines in. I enjoyed learning how to drape the plate, as it has to go on top of the tutu it has to be draped as a whole, you cant just do half and expect it will be the same as each part of the tutu lays differently because of the pleats and how it falls on the body.
We put all of out bodices on the stand. The fabric has ripples in places that didn't look professional enough to give to the client, so we took the bodices apart and put stayflex in between the two layers which helped give structure.
This has taught me that if i notice something like the fabric manipulating whilst i am working with it, i need to make a decision before it gets too far past the point of return. Luckily i was ok to take out the tacking and seams and make that change.
We all did the plate individually, and marked on the design lines. But once they where all done, it was noticed that the design lines all varied slightly. As we are doing it for a company we need them to look identical, and make sure the client is happy with them all looking as if they are a group of costumes.
Draping the plate in calico first to get the pattern, we could also draw the design on the pattern too which helped. Once i was happy with the draping of the calico, i took it off and used the template to cut out my net and top fabric. I attached my net where i have zig zag stitched the basque to the net. I used a back stitch so it would be secure, and if everything fits ok, i wont have to take it back off. I attached the plate the same way, but not as secure so i can take it off for the fitting easily.
Notes:
Make decisions through out the construction, before it could get to the point of no-return and it may just have to stay looking un-professional or start again, which would be a waist of money and time.
Not ideally happy with the colour of the net, i would have liked it darker. I tried everything i could. As we are producing a group of costumes i couldn't spray mine. If i was doing it individually i would have sprayed mine to get the right colour that was the colour of my fabric.
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