Wednesday, March 5, 2008
Hey me again :) having danced for 12 years of my life I would strongly recommend that you get involved in this form of dance whether it be for a career or just for fun, because it is extremely fulfilling and as an added bonus is a fun way of keeping in shape. so go and find a ballet studio NOW!!!! x
THE TUTU
brief history: the ballerina tutu has been called one of the greatest costume inventions of all time. 'tutu' is french baby talk for your bottom. the word for this ballet dance costume is a corruption of cucu, french babytalk for the word cul- cul roughly meaning botty wotty. legend has it that the term was coined by commoners, who unlike the wealthy sitting in the upper seats of the theatres, were seated in the lower levels. these commoners would look up at the dancer and have a very different view of the ballet. 'tutu' refers to the area seen under the ballerinas' skirts.
ANATOMY OF THE TUTU:
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 (diagonal) which gives the 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 is put together just with elastic tabs to allow movement.
the Tutu Basque: is the piece that sits on the waist to high in the hip. can be continuous with the bodice or a separate 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.
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.
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 a panty.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.
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. (photo credit: Symphony In C Tutu, From Bentley, Toni, Costumes by Karinska, 1995, Harry N. Abrams, Inc, p. 104.)
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 a panty.
ANATOMY OF THE TUTU:
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 (diagonal) which gives the 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 is put together just with elastic tabs to allow movement.
the Tutu Basque: is the piece that sits on the waist to high in the hip. can be continuous with the bodice or a separate 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.
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.
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 a panty.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.
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. (photo credit: Symphony In C Tutu, From Bentley, Toni, Costumes by Karinska, 1995, Harry N. Abrams, Inc, p. 104.)
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 a panty.
THE POINTE SHOE
dancing on pointe is a very elegant but athletic talent, requiring grace and strength. To compliment the form of this dance discipline, the pointe shoe is regarded as an extension of the foot and a continuation of the leg line. However, regardless of a dancers technical ability, a pointe shoe must fit properly in order to provide the support to dance en pointe. To get a correct fit a dancer must knw the parts of a pointe shoe:
LAST:
the last is the mold on which a pointe shoe is constructed. The shape of the last is designed to represent the dancer's foot. A different last is used for different sizes and different styles.
BOX:
the box covers the toes and provides the support a dancer needs to stand en pointe. the side wings are an extension of the box and provide added support.
VAMP:
the vamp reffers to the length of the pointe shoe upper measuring from the platform to the binding at the centre front of the shoe. A longer vamp can help draw the foot closer to the shank when en pointe.
THROAT:
the throat is the open area located from the one side seam to the other throgh the centre front of the pointe shoe. The throat is the shape of the upper which presents and flatters the arch of the dancer's foot.
DRAWINGSTRING/BINDING:
the binding is the finished edge of the upper. The drawstring, which is encased in the binding, further secures the pointe shoe upper to the foot.
PLATFORM:
the platform is the outer flat tip of the box which allows the dancer to stand en pointe.
CROWN:
the crown is the vertical height between the vamp and the sole of the pointe shoe.
PLEATS:
the pleats are located on the upper side of the box where the fabric is folded into the sole.
STAY:
the stay is the fabric that covers the seam in the back of the pointe shoe that covers the dancer's heel.
SIDE QUARTERS:
the side quarters are the sections of satin from the side seams to the back of the stay.
SOLE:
the outer sole is made of either buffed or scored to provide traction.
SHANK:
the shank is made of leatherboard and is the back bone of the pointe shoe. It is located under the sock lining and provides support to the arch. They range in strength to accomodate the strength and technical ability of the dancer.
LAST:
the last is the mold on which a pointe shoe is constructed. The shape of the last is designed to represent the dancer's foot. A different last is used for different sizes and different styles.
BOX:
the box covers the toes and provides the support a dancer needs to stand en pointe. the side wings are an extension of the box and provide added support.
VAMP:
the vamp reffers to the length of the pointe shoe upper measuring from the platform to the binding at the centre front of the shoe. A longer vamp can help draw the foot closer to the shank when en pointe.
THROAT:
the throat is the open area located from the one side seam to the other throgh the centre front of the pointe shoe. The throat is the shape of the upper which presents and flatters the arch of the dancer's foot.
DRAWINGSTRING/BINDING:
the binding is the finished edge of the upper. The drawstring, which is encased in the binding, further secures the pointe shoe upper to the foot.
PLATFORM:
the platform is the outer flat tip of the box which allows the dancer to stand en pointe.
CROWN:
the crown is the vertical height between the vamp and the sole of the pointe shoe.
PLEATS:
the pleats are located on the upper side of the box where the fabric is folded into the sole.
STAY:
the stay is the fabric that covers the seam in the back of the pointe shoe that covers the dancer's heel.
SIDE QUARTERS:
the side quarters are the sections of satin from the side seams to the back of the stay.
SOLE:
the outer sole is made of either buffed or scored to provide traction.
SHANK:
the shank is made of leatherboard and is the back bone of the pointe shoe. It is located under the sock lining and provides support to the arch. They range in strength to accomodate the strength and technical ability of the dancer.
THE SOFT SHOE....
Ballet began as an artform under the reign of Louis the XIV. Today, ballet is the basis for many forms of dance from lyrical to modern. It is also a starting point for many dancers. Ballet teaches form and technique, builds strength and develops poise and grace. The ballet shoe is the dancers best tool providing support and comfort.
Follows these guides to give you that perfect fit:
- when buying your shoes make sure you are wearing the tights you will be dancing in.
-stand flat in the shoe and make sure your toes are not squashed.
-if there is too much room in the front of the shoe it will be difficult for you to articulate. make sure you don't have to curl your toes to keep your shoe on either.
-if one shoe fits better than the other and there is no left or right shoe, try switching them.
SEWING ON THE ELASTIC:
-the elastic should be fitted high in the in-step. This ensures a good fit a the heel.
-fold down the heel of the ballet shoe until it is falt against the socklining.
-place a pencil mark where the fold creases closest to the lining.
-stich only one side of the elastic to the lining just below the drawstring. be careful not to sew the elastic over the drawstring.
-put the ballet shoe on and carefully pull the elastic strap over the in-step where it is most comfortable.
-place a pencil mark where the elastic meets the binding and sew below the drawstring.
FACTORS TO CONSIDER WHEN BUYIN A SOFT SHOE:
-2 factors to consider when choosing a soft shoe; sole and material.
sole:
- 2types to choose from full sole or a split sole.
-full sole is usually made from one piece of material, usually suede, running all the way along the foot.
-split sole is in two pieces covering the ball and heel only (this is generally used because it improves foot position when pointed. particularly good for flat footed people)
UPPER MATERIAL:
-there are three types to choose from; canvas, leather or satin, and is very much down to personal choice.
Have fun!
Follows these guides to give you that perfect fit:
- when buying your shoes make sure you are wearing the tights you will be dancing in.
-stand flat in the shoe and make sure your toes are not squashed.
-if there is too much room in the front of the shoe it will be difficult for you to articulate. make sure you don't have to curl your toes to keep your shoe on either.
-if one shoe fits better than the other and there is no left or right shoe, try switching them.
SEWING ON THE ELASTIC:
-the elastic should be fitted high in the in-step. This ensures a good fit a the heel.
-fold down the heel of the ballet shoe until it is falt against the socklining.
-place a pencil mark where the fold creases closest to the lining.
-stich only one side of the elastic to the lining just below the drawstring. be careful not to sew the elastic over the drawstring.
-put the ballet shoe on and carefully pull the elastic strap over the in-step where it is most comfortable.
-place a pencil mark where the elastic meets the binding and sew below the drawstring.
FACTORS TO CONSIDER WHEN BUYIN A SOFT SHOE:
-2 factors to consider when choosing a soft shoe; sole and material.
sole:
- 2types to choose from full sole or a split sole.
-full sole is usually made from one piece of material, usually suede, running all the way along the foot.
-split sole is in two pieces covering the ball and heel only (this is generally used because it improves foot position when pointed. particularly good for flat footed people)
UPPER MATERIAL:
-there are three types to choose from; canvas, leather or satin, and is very much down to personal choice.
Have fun!
welcome!
hey there thanks for stopping by! :) this blog has basically everything you need to know about Ballet and items that are associated with it. I have to tried to incorporate everything I know along with some research I have done into it blog to make it a helpful and informative tool. Enjoy!
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