The Ballet Tutu
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Transcript of The Ballet Tutu
THE BALLET TUTUBy: Allie Yancey, Nicole Gilbert, Agustina Biggio, Aimee Bridgeman, Michelle Doval
http://www.dirtandseeds.com/hey-newsweek-be-a-man-and-dance-2/
BACKGROUND INFORMATION
Ballet comes from the Italian word ballare to dance.
Ballet was started during the Italian renaissance 15-16th centuries
Spread to the French court where it was advanced
Louis the fourteenth started the paris opera which led to the debut
of the first professional ballet company, the paris opera ballet
Was not until the 20th century that the United States began to
modify ballet, through the works of Balanchine, who developed
neoclassical ballet and founded the NYC Ballet company(The History of the Ballet Tutu. 2010)
BACKGROUND INFORMATION
In this presentation we will be covering 1800-1900 ballerina tutus
A tutu is a skirt that could be attatched or not attached to a
bodice/leotard of some sort
Usually made up of layers of tulle and other various fabrics like
nylon and muslin attatched to a waistband and bodice
Started out as a simple dress
Russians wanted to see more of the ballerina’s intricate footwork,
leading to the creation of the romantic style tutu.(The History of the Ballet Tutu. 2010)
BACKGROUND INFORMATION
First tutu was worn by Marie Taglioni in La
Sylphide
Was short enough to show her elaborate footwork
Through time and advancements in the dance
culture as well as in fabric technology, tutus have
slowly become way more intricate and modern.(The History of the Ballet Tutu. 2010)
BACKGROUND INFORMATION
Types of tutus today: • Romantic Tutu: A three-quarter length, bell-shaped skirt made
of tulle, lands right mid-calf.• Pancake Tutu: A short, stiff skirt made with layers of netting that
extends straight outwards, has a slight volume towards the top but then extends fully out.
• Bell Tutu: A very short, stiff skirt with a slight bell shape, it is longer than a pancake tutu, yet still allows audience to see full leg.
• Balanchine Tutu: also known as the "powder puff", it is a very short skirt with no hoops, with a lot less layers of material than the classical tutus, allowing the tutu to look much fuller in shape.
• Platter Tutu: A tutu with a flat top that sticks straight out from the waistline. Full leg view, completely flat silhouette.
(The History of the Ballet Tutu. 2010)
Pancake/Platter
TUTUS OF TODAY
Romantic
http://4.bp.blogspot.com/-lkbWMq8KWQk/T5HMtMzcMnI/AAAAAAAAAJo/n412RCvJtko/s320/plattertutu.jpg
http://www.dramaticflair.com/gallery_theatre/images/ClRomanticTutu.jpg
Powder-Puff
TUTUS OF TODAY
Bell
http://img1.etsystatic.com/002/0/6953000/il_fullxfull.355986913_2mee.jpg
http://3.bp.blogspot.com/_Ozo7z2zkqWs/S-i0QXqrgLI/AAAAAAAACXo/cmdHOfSpz3s/s1600/karinska_2_big.jpg
BACKGROUND INFORMATION
Tutus are worn on stage, the more elaborate ones are used
in actual performances while most professional dancers have
some sort of a “practice tutu” which usually tends to be a bell
tutu and allows the dancer to practice as if she was wearing
her costume.
Ballet Tutus are utilized all around the world. France,
Russia, United States, Argentina, everywhere ballet is danced
(The History of the Ballet Tutu. 2010)
ASPECTS OF THE TUTU
Textiles Used• Tutus are made from a variety of fabrics which
include:• Bobbinett- has a hexagonal weave with larger holes
than traditional theater scrim. It is often used on film sets where more transparency is needed
• Organza- thin, stiff, transparent fabric made from silk or a synthetic yarn
• Chiffon- A light, sheer fabric typically made of silk or nylon
(Tutu.Com - Fabrics Main Page. 2012)
http://4.bp.blogspot.com/-5bHEVcF-Q1Q/Tciq0HhlO5I/AAAAAAAAFv4/ZaQI5gdblSg/s1600/bobbinet+4.jpg
http://www.eventswholesale.com/catalog/tablecloth_organza2.jpg
http://image.made-in-china.com/2f0j00SCOEaIeKEbhl/50d-Chiffon-Fabric-50D-.jpg
ASPECTS OF THE TUTU
• Georgette- a sheer, lightweight, dull-finished crêpe fabric named after the early 20th century French modiste, Georgette de la Plante.
• Mesh- Material made of a network of wire or thread• Tulle- A soft, fine silk, cotton, or nylon material like net,
used for making veils and dresses• Spandex- A type of stretchy polyurethane fabric(Tutu.Com - Fabrics Main Page. 2012)
http://www.zjyiwen.com/uploadfile/product_big/20123151540135593.jpg
http://tullefabric.org/wp-content/uploads/2011/05/Tulle-fabric.jpg
http://www.gd-wholesale.com/userimg/1/3643i3/mesh-fabric-209.jpg
http://www.globaltextiles.com/html/images/upload/tradeleads/377/376722.jpg
IDEOLOGY
Ballet was heavily influenced by the ending of the French
Revolution at the beginning of the 1800’s.
In the early 1800’s, the dress of ballet began to mark the idea of
more freedom in dress for women and the freedom of expression.
This is when the clothing of ballet shifted into the Romantic
Ballet, with more free-flowing garments. These garments were
more comfortable for the dancer to wear and allowed them to
move more freely.(Martin, D. , Gabriel, N. , 2001)
IDEOLOGY
This is where a shift occurred from ballet being a
courtly aristocratic art, to being entertainment for the
masses. Ballet was seen as an art form, a form of
expression.
The romantic ballerina symbolized purity and values,
with her garments being white and less adorned.(Martin, D. , Gabriel, N. , 2001)
TRADITION AND CHANGE
1800s
Romantic ballet
Told stories taken from ancient freak myths and dramas
People became interested in stories of dreamlike worlds and
foreign lands
Ballet technique expressed new ideas – made them look heavenly
Made women for the first time look ideal and more importance
than men
TRADITION AND CHANGE
First romantic ballet was created by Italian choreographer
Filippo Taglioni• For his daughter • She danced the title role of the sylphide (fairylike being) • Costume set a new fashion for women
• Light white skirt ended halfway between knees and ankles • Arms, neck, and shoulders bare• She became the greatest star of the Paris stage because she was
the first dancer to dance on point
The tutu was made popular
(Ballet History. 2004).
TRADITION AND CHANGE
Italians invented the “spotting of turns” (Ballet History 1700s, 1800s &
1900s. -2008)
Italians were the first to block the toe of pointe shoe to create
small platform
Pierina Legnani became a superstar by perfecting 32
consecutive fouettes
Costumes were evolving – romantic tutu was in vogue
Most ballet were performed in France and London(The 1800s and the Romantic Ballet. 2012)
TRADITION AND CHANGE
1900s
Europe- opera houses benefitted from the
emigration of Russian dancers after the Russian
revolution (1917)
Many choreographers based works on dramatic
action(The 1800s and the Romantic Ballet. 2012)
TRADITION AND CHANGE
Baroque costume – very heavy, stiff and usually ornate in the corset of
the dress, very long covered most of the legs
Prevented flexible movement of the torso, weighed down the dancer,
prevented viewers from seeing foot work of the dancer
Romantic Tutu
Corset less stiff with loss of ornate designs
Dancers could bend backwards and do circular movements with torso
The skirt cut above ankles to allow audience to see foot work, consisted
of 3 layer of light material (tulle or muslin) this eliminated weight
(Field, A. 2011)
TRADITION AND CHANGE
Classical tutu
Skirt started at hips and came out horizontally on a diagonal ending
above the knee
Skirt consisted of more layers than the romantic; the material used
now was a net like material making a shape of a “bell”
Bell tutu
Mix of romantic and classical
Skirt has more layers of fabric and is shorter than romantic tutu the
material used was could be either tulle or net or both (Field, A. 2011)
TRADITION AND CHANGE
Today
All the tutus are in use, the romantic and the
classical tutus have two main styles: The two
romantic styles are called Romantic tutu and
romantic tutu with Basque, the two main classical
are called Platter classical tutu and the powder puff
classical tutu(Field, A. 2011)
FUNCTION - BOTH MATERIAL AND IDEOLOGICAL
Neoclassicism of the late eighteenth and early nineteenth
centuries featured a shift from heavy embellished embroidery,
long skirts, and defined waists to transparent, flowy tunics • The new style replaced that of the styles that appealed to the
higher class aristocracy in France• The tunics were similar to Greek chitons that also have an
indented material
Aesthetically, this gave the dancer more leg movement and
enhanced the shape of the female body
(Chazin-Bennahum, J 2002)
FUNCTION - BOTH MATERIAL AND IDEOLOGICAL
The tunic’s soft fabric and definition without corsets
emphasized that women’s bodies were becoming more sensual,
and clothing material was becoming more comfortable• Evolving from aspects of Greek and Roman political and social
life, the ballet costume was reinvented to be more revealing and simple
• On stage the light, filmy tunic exposed the woman’s body showing a more idealized sexual appeal
• The simpler uniform brought more attention to dance technique and expression
(Chazin-Bennahum, J 2002)
FUNCTION - BOTH MATERIAL AND IDEOLOGICAL
In the 1800’s during the Romantic Movement, the
tutu length developed to be a calf length skirt.• Made of layers of white tulle to show off the
elaborate footwork(Wagner, C. 2002)
http://highfashionupdate.com/wp-content/uploads/2012/10/ballet-tutu-romantic.jpg
FUNCTION - BOTH MATERIAL AND IDEOLOGICAL
Ballet shoes of the 18th century were small heeled
or heelless slippers with satin ribbons that tied
around the ankle resembling a Greek sandal• Young girls from an early age learned to endure the
wearing of a shoe that was smaller than their natural size
• The slippers began to be worn in ballet studios; soon after the point shoe was developed and became popular
(Chazin-Bennahum, J 2002)
FUNCTION - BOTH MATERIAL AND IDEOLOGICAL
The continuing change of the different types of shoes reflected
how women’s feet appeared to society as well as how they were
able to move and dance.• The soft, satiny slippers provided flexibility and increased
movement of their feet, allowing them to spin, turn, jump, and to point and arch the foot to elongate the length of the leg
• Point shoes supported the feet and allowed the ballerina to perform pirouettes and appear more graceful in movement
Neoclassical aestheticians believed the ballet dress of the time
emanated the classical notions of simplicity and purity(Chazin-Bennahum, J 2002)
CITATIONS
The History of the Ballet Tutu. (2010). EzineArticles Submission -
Submit Your Best Quality Original Articles For Massive Exposure, Ezine
Publishers Get 25 Free Article Reprints. Retrieved November 6, 2012,
from http://ezinearticles.com/?The-History-of-the-Ballet-Tutu&id=4038345
Tutu.Com - Fabrics Main Page. (2012). Tutu.Com Home - Specializing in
All Things Ballet!. Retrieved November 6, 2012, from
http://www.tutu.com/fabric.html#SampCards
Martin, D. , Gabriel, N. , 2001. An ‘Informalizing Spurt’ in Clothing Regimes: Court
Ballet and the Civilizing Process. In Dressed to Impress. Retrieved 28 Nov. 2012, from
http://www.bergfashionlibrary.com/view/DRSIMPRS/chapter-DRSIMPRS0008.xml
CITATIONS
Ballet History. (2004). A Ballerina's World. Retrieved November 6,
2012, from http://bongbaby86.tripod.com/id34.html
Ballet History - 1700s, 1800s & 1900s. (2008). Just Ballet. Retrieved
November 6, 2012, from justballet.webs.com/history1700s1800s1900s.htm
The 1800s and the Romantic Ballet. (2012). Everything You Want to Know
About Ballet | Wish Upon a Ballet. Retrieved November 6, 2012, from
http://wish-upon-a-ballet.com/ballet-history/the-1800s-and-the-romantic-ballet/
Field, A. (2011). How The Ballet Tutu Has Changed Over Time. ArticleSnatch. Retrieved November 28, 2012, from
http://www.articlesnatch.com/Article/How--The-Ballet-Tutu-Has-Changed-Over-Time/2467905#.ULa_XKzLRgM
Chazin-Bennahum, J (2002). A Longing for Perfection: Neoclassic
Fashion and Ballet. Fashion Theory, 6(4), 369 - 386.
Wagner, C. (2002). Ballet costumes: Historical development. Historical Boy’s Clothing. Retrieved November 27, 2012., from
http://histclo.com/act/dance/bal/cos/bc-hist.html