Posted 14 February 2003 - 08:51 AM
Posted 14 February 2003 - 06:28 PM
It would depend on the ballet. For the 19th century classics and ballets made in their image ("Symphony in C," "Theme & Variations,"), I definitely prefer the sturdier, traditional costumes. However, in ballets like "Fanfare," (and the "Mistake Waltz" in "The Concert") Robbins has the women dressed in leotard-like tops with tutus. It's a more contemporary look for a more contemporary style, and it works perfectly for what it is.
Posted 16 February 2003 - 01:32 PM
Posted 16 February 2003 - 02:04 PM
Posted 16 February 2003 - 03:15 PM
Posted 16 February 2003 - 06:48 PM
Some of us don't like the way those Corsaire- and Bayadere-style, bra-top costumes make so many horizontal cuts across the body's length. They chop the dancer's line.
Originally posted by Hans
There are also those tutus often used for Le Corsaire that are clearly a modern invention: they are traditional tutus that expose the midriff.
Posted 18 February 2003 - 03:02 PM
It's really a matter of the ballet and the costume designer.
Hans is correct, in a separate tutu bodice which is attached to the basque of the skirt, the dancer often has more flexibility. Many costumes are made this way--even if they look like just a fitted bodice and a skirt, they are generally two pieces.
The one piece bodice can be fairly structured, too...the tutu is made with a basque of net or twill or something light and very sturdy, but the bodice is joined to the skirt at the hipline (thus, the one-piece look, as the basque is not seen, but anchors the costume at the dancer's waist under the bodice.)
Now, there are leotards with skirts attached (Serenade, for example, or Tchaikovsky Suite #3 for NYCB), but these are not just whacked on there, they are still fitted to the dancers.
I think the nature of a piece largely dictates the costumes (for me at least). I would not to see Raymonda in a plainer tutu--the fabric and structure are important to the whole "feel" of the piece. Contrary to popular opinion, properly fitted and constructed tutus are NOT uncomfortable. If the panties are cut properly, one can do a full range of movement and they will not ride up.
Hope this is useful.....
Posted 18 February 2003 - 03:24 PM
About tutus being uncomfortable, I have heard Paris Opera dancers saying that with Nureyev, the tutus were much heavier and they had to get used to it and their hips really pained at the beginning, so this is why I said they were. It is true that it is one particular type (I suppose), so you are probably right saying they are not uncomfortable. Also, I didn't mean to say the tutus I saw in Swan Lake by Bart in Berlin were decorated leotards with a basque(is it correct? I mean the skirt part) it was just a way to describe how much lighter they seemed compared to the ones in Paris.
Anyway, thank you for giving your opinions.
Posted 19 February 2003 - 01:34 PM
These, I have to say, are completely baroque (which is what he and his frequent collaborator, Nicholas Georgiadis, were aiming for....)
A lot of tutus with the bigger skirt take some getting used to--the reconstruction of Kirov's Sleeping Beauty is another example....although the ornamentation on these is not a patch on those aforementioned Georgiadis Sleeping Beauty togs.....
The Berlin Swan Lake may have been one-piece bodices, which look like a leotard, as compared to a two piece. I don't have my video of this at hand to check. although I recall the production overall. Swans are not supposed to have weighty tutus, so this is another difference, if I may be forgiven for pointing out the obvious.;)
Posted 19 February 2003 - 01:57 PM
Posted 19 February 2003 - 02:04 PM
What I love about the Paris Opera Bayadere tutus is the way they flop and bounce as the dancers dance.
Posted 19 February 2003 - 03:08 PM
Posted 19 February 2003 - 05:06 PM
I am wondering why swans would have heavy tutus....I know they are not delicate, ethereal creatures, but grace and air also play in the usual design conception of the avian world...
Are they feathered heavily (one thinks of those unfortunate feather knickers from AMP Swan Lake...although I really liked the basic idea and it is just the haunchy-ness of them that I find ugly...looks like the leg on the Thanksgiving turkey....or Jemima Puddleduck's consort from Ashton's Tales of Beatrix Potter.....) Now, THOSE are costumes!!!!!
But, everything is a beauteous thing to someone.
(The image of the Hostess Cupcake tutus from SFB's Paquita spring unerringly to mind.....)
Sorry to get off track.....
Posted 19 February 2003 - 06:08 PM
Posted 19 February 2003 - 07:04 PM
Usually they are joined in a variety of ways, depending on the maker and the dancer's particular requirements. Some are whip-stitched together all the way around, some are joined by elastics inside, and then swing-tacked., others tacked at the front, sides and mid-back...
I *really* hate when a front bottom point on a bodice has not been properly tacked and is jutting out right there to catch your eye in a photo (I know, some of us look at feet, I look at costumes!!);)
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