ballet attire

[lorenzoverlaine]

For many years before I came to love ballet I loved Degas' paintings of it and was fortunate to see them in several museums around the world, reproduced in books, etc. I'm not aware of another artist that could mix such lavish colors.

Recently and quite suddenly it occurred to me that in every picture I could recall, many of them clearly depicting practice or lessons, the women were attired in what looked to me to be performance-grade clothing. Is it just that in those times the standards of decorum were quite different? I know that Nijinsky got into hot water over refusing to wear the trunks that were conventional for men at his time and place.

I appreciate your attention.

[rg]

there is much scholarship on Degas and the 'dancers, dancing and practice work,' including all the 'poetic license' he used in putting his classroom and stage 'situations' on paper or canvas. the catalogue (see below) that accompanied the most recent, large-scale "Degas and the Dance" exhibit makes many references to where the artist took liberties with such details as costuming, etc. for the dancers he depicted. i believe the publication is still available; its scholarship is quite reliable.

as follows:

A fully illustrated catalogue published by the American Federation of Arts and Harry N. Abrams, Inc., accompanies the exhibition. Degas and the Dance features a comprehensive text by Richard Kendall and Jill DeVonyar on Degas’ relationship with dance and the dance world, and the historical circumstances of the ballet in mid-to late 19th-century Paris. (304 pages; approximately 190 colorplates and 125 black-and-white illustrations; 9 ½ x 11 inches; hardcover $49.95; paperback $35.00)

regarding Nijinsky and his costume 'situation' - a distant relative, it would seem, of the famous 'costume malfunction' at the superbowl a few years ago - the following article from THE DANCING TIMES details some of the particulars of this episode in the famous dancer's life and career - it should be noted however that the dancer's refusal to wear a sometimes 'regulation' garment wasn't a matter of whim or usual policy with him, but rather a 'designer's choice' (that is Benois's) which Nijinsky chose to honor. i'm unaware of any historical information claiming this refusal to wear 'trunks' was a matter of policy w/ Nijinsky, rather than a momentary decision on one particular occasion.

as follows:

Woodcock, Sarah C. The mystery of the missing costume.

The dancing times. London. Nov. 1988, p. 126-128. ill.

Discussion of the controversial costume that Nijinsky wore which led to his dismissal from the Imperial Theatre.

[lorenzoverlaine]

Thanks so much for the references, especially re: Degas, which I certainly shall pursue.

L.V.

[SanderO]

I always assumed that Degas romanticized the dancers and put them in their performance outfits rather than daily practice or rehearsal dancewear. After all looking behind the scenes is not the point of many a genre despite it being of interest to some.

Having seen some of the Met Opera live broadcasts where they go back stage as interesting as it was , it shattered the illusion of the performance for me. Innocence lost, whatever.

So it has been a strange journey for me who became drawn to ballet like a moth to a candle with the knowledge that the behind the scenes world might very well shatter the illusions I delight at from my seat.

I struggled with a kind of anxiety about seeing a rehearsal at the Met of ABT, but found that the ones open to the public were hardly a look behind the scenes.

For those IN dance they might find this incomprehensible, but much of the arts is about the illusion these geniuses create, not about how they manage to do it.

[lorenzoverlaine]

Speaking of rehearsals and related, I've always wanted to watch a lesson taken by the dancers of a well-known company so asked ABT what sort of contribution was required for this privilege. I was told that for a $2500 membership I could see a rehearsal. I reiterated that what I wanted was to watch a lesson, and I learned that the pre-requisite for that was a gift in the $25K class! This is another of many pleasures I shall have to forego.

L.V.

[innopac]

Speaking of rehearsals and related, I've always wanted to watch a lesson taken by the dancers of a well-known company so asked ABT what sort of contribution was required for this privilege. I was told that for a $2500 membership I could see a rehearsal. I reiterated that what I wanted was to watch a lesson, and I learned that the pre-requisite for that was a gift in the $25K class! This is another of many pleasures I shall have to forego.

L.V.

Just out of curiosity - do you know if that is limited to watching one lesson?

[lorenzoverlaine]

No, sorry; the magnitude of the offering frightened me away. I suppose info@abt.org will tell one.

[innopac]

No, sorry; the magnitude of the offering frightened me away.

That is understandable!