Accuracy of sets and costumesOpinions?
Posted 17 July 2007 - 01:53 AM
Posted 17 July 2007 - 02:50 AM
I often wonder when you see a ball scene, how everyone is in color coordinated dress, and it looks that they all were made by the same designer. I've never seen so much order out there... but maybe those days were different. Aesthetically it can be interesting, even if it lacks verisimilitude. Obviously the costuming is a design issue and along with the sets does add to the mood of the scene. Head dresses for ballerinas look pretty weird at times too.
Choreography with lots of the corps dancing often has the look of a flower growing (for lack of a better analogy), the symmetry, the repetition, the movement of the elements and so the colors would have to be "coorrdinated" and... they are. In fact, in those types of scenes...the corps looks like... well a corps.. not a bunch of individuals. The Met Opera designers do amazing color coordination in their sets and costuming as does the ABT, the companies I am most familair with, but I think color coordination is a rather common tool for production designers. It makes it work as a whole better I suppose... like music.. all the notes belong there. Do you remember the scene in the movie Amadeus, when they accused Mozart of having too many notes? hahahaha
And speaking of Mozart, I am particularly fond of the Met Zauberflot which is visually stunning, but a fairy tale of course. There (fairy tales) you have a lot of latitude with me. The Bolshoi's recent Corsaire production had backdrops which looked like huge 14th century paintings and did not seem to be trying to create the illusion of space and reality as does the ABT's Swan Lake sets, for example.
Imagine a set painted in the style of impressionism for a ballet of the late 19th century for say, Manon? Despite impressionism in vogue in painting, clothing was rather more mundane in the period compared to where painting was going. Such a set would look interesting, but it would be diffuclt to capture that aesthetiic of the late 19th century in all aspects of a production. But then again, we often don't know what the look of a period is until we get a chance to look back and see what "survived". Historians tell us that.
Any aspect of a story/classical production can set it off balance including costuming or sets. It's approaching that fine line, but when they pull it off it is a stunning visual experience.
Posted 17 July 2007 - 04:10 AM
Posted 17 July 2007 - 08:28 AM
Posted 17 July 2007 - 10:03 AM
My problem comes when a ballet troupe markets an upcoming revival as authentic (or 'after the original designs') -- such as the Royal Ballet's boasting that last year's Sleeping Beauty would recreate the celebrated Messell designs of 1946 -- then does not deliver. Now THAT was a disappointment. I was also somewhat disappointed in the modern-style tutus of the Munich revival of Petipa's-by-Liska Corsaire, earlier this year (judging by photos...bare midrifs and such). On the other hand, the costumes for the Bolshoi's own 'after Petipa'-by-Ratmansky Corsaire are superbly old fashioned.
Not to dump on the Royal Ballet; they know how to 'do it right' when they want to do so. For example, they did themselves proud with the 2004 revival of the sets & costumes of Ashton's 1950s 'Sylvia.
Posted 17 July 2007 - 10:29 AM
Exactly. You have to know how to walk that fine line.
Thank you, scherzo, for starting such a good topic. More comments, please!
Posted 17 July 2007 - 12:23 PM
Posted 17 July 2007 - 02:30 PM
True, Natalia, but is the comfort of the dancers - which I agree is always important, of course - is central to the question of what is appropriate when bringing back old costumes. Body types in ballet are very different now and costumes that looked great on dancers back when might look odd today if not adapted carefully.
Posted 18 July 2007 - 11:59 AM
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: