The costume in ballet is one of the important components of the design of the performance, which meets the requirements of both a specific ideological and figurative content and the specifics of choreographic art. The role of the costume in ballet is more significant than in drama or opera, since ballet is devoid of verbal text and its spectacular side carries an increased load. As in other types of theater, the costume in ballet characterizes the characters, reveals their historical, social, national, and individual characteristics. At the same time, it must meet the requirements of danceability, i.e., be light and comfortable for dancing, not hide, but reveal the structure of the body, not hinder movements, but help them and emphasize them. The requirements of figurative-characteristic concreteness and danceability often come into conflict with each other. Both excessive "lifetime" and the schematic impoverishment of a ballet costume are extremes, which can be justified in individual cases only by the special content and genre of a particular work. The skill of the artist in ballet lies in overcoming these contradictions and extremes, in achieving an organic unity of imagery and dance.
The ballet costume, being the clothes of the characters, at the same time is an element of the holistic artistic solution of the performance, which puts forward the task of its color and color coordination with the scenery, "fitting" into a single pictorial picture. The costume is the most "mobile" element of the visual design of the ballet. Therefore, he can bring a dynamic beginning into it, fill it with rhythms corresponding to the rhythms of music. In this sense, the costume is, as it were, a connecting link in the synthesis visual arts and music in a ballet performance.
Main costumes actors usually more individualized than corps de ballet costumes. The unification of the costumes of the corps de ballet emphasizes his emotional, and does not portray. meaning, corresponds to the unity and generalization of dance compositions. The difference in color, and sometimes in the form of costumes, often reveals the contrast of various groups of the corps de ballet in a mass dance or in polyphonically complex choreographic compositions (for example, in the procession scene in the "Legend of Love", staged by Yu. N. Grigorovich, art. S B. Virsaladze). In cases where the corps de ballet depicts a real, diverse crowd, its costumes can also be individualized (for example, the people in the 1st act of Don Quixote, staged by A. A. Gorsky, artist K. A. Korovin , 1900). The costumes of the main characters are usually consistent in cut and color with the costumes of the corps de ballet, combined with them according to the principle of unity or contrast, depending on the specific figurative content of the dance.
The costume in ballet has historically changed in connection with the evolution of the choreographic art itself. At the first stages of development, it almost did not differ from the everyday clothes of the court-aristocratic environment. In baroque performances, the costume was especially lush and often heavy. During the period of classicism, a stylized antique tunic (tunic) appeared, and folk costumes began to penetrate into comedy ballets. Reformer ballet theater J. J. Nover in con. 18th century made great changes to the costume, making it lighter, simplifying shoes and shortening women's dresses. However, a radical reform of the ballet costume, which led to the formation of its modern foundations, took place in the art of romanticism ("La Sylphide", 1832, "Giselle" in post. F. Taglioni, etc.). Instead of a household skirt, they began to use a long tunic (not to be confused with an antique tunic!), which became the predecessor of the pack; shoes with heels were replaced with special ballet shoes that allowed dancing en pointe. The opposition of the real and fantastic worlds was emphasized by the costumes. The generalized idealized nature of symphonic dance compositions was expressed in the unity of the corps de ballet costumes. In the performances of A. Saint-Leon and M.I. Petipa, the romantic tunic was transformed into a pack, which later became shorter and shorter.
A significant contribution to the development of the costume was made by Russian artists early. 20th century For L. S. Bakst, the very concept of a costume was born in connection with the choreographic movement; in his sketches, the costumes are presented in the sharply characteristic, often exaggerated movements of the dancers. The costumes of K. A. Korovin are distinguished by their coloristic richness and pictorial unity with the scenery. The subtle sense of the era and the individuality of the character, characteristic of A. N. Benois, was also reflected in his costumes. In the costumes of N. K. Roerich, the elemental power and primitive exoticism of his characters are conveyed. The artists of the "World of Art" often absolutized the colorful meaning of the costume and interpreted it as a purely picturesque spot in big picture, sometimes ignoring or even suppressing the dancer (for example, B. I. Anisfeld). But at the same time, they extraordinarily enriched artistic expressiveness and imagery of a ballet costume.
In Soviet ballet, the style of costumes created in the 1920s. F. F. Fedorovsky and A. Ya. Golovin, was partly close to the painting traditions of the "World of Art". At the same time, representatives of free dance (followers of A. Duncan) revived the ancient tunic (tunic). In the experiments of K. Ya. Goleizovsky, the dancers performed their numbers in leotards, "leotards", which exposed the body, but at the same time the costume was reduced to a ballet uniform. Studio "Drum Ballet" N. S. Gremina cultivated everyday costume. Features of constructivism were reflected in the sketches of A. A. Exter, in "Dances of Machines" by N. M. Forreger, in the introduction of production uniforms in ballets about modernity ("The Bolt" in the design of T. G. Bruni, etc.). In the ballet drama of the 30-50s. artists strove for the maximum historical, social, everyday concretization of the costume, bringing it closer to dramatic costumes. theater ("Lost Illusions" by Asafiev in the design of V.V. Dmitriev, 1936, etc.). Great importance during these years had the creation of stage. options for nar. costumes, in connection with the wide distribution of ensembles of bunks. dance, national ballet troupes and popular scenes in ballet performances (The Flames of Paris, 1932, and Partisan Days by Asafiev, 1937, designed by Dmitriev; Heart of the Mountains, 1938, and Laurencia, 1939, designed by S. B. . Virsaladze and others). In contrast to the trends in the development of a ballet costume, characteristic of this period, from the end. 50s features of abstraction and schematism, monotony and monotony of ballet in ballet began to appear, especially in staging plotless ballets to the symphony. music.
An outstanding costume designer is S. B. Virsaladze. His works (especially in the performances staged by Yu. N. Grigorovich) are characterized by an organic unity of figurative characterization and dance. The artist never impoverishes the costume, never turns it into a clean uniform and an abstract scheme. His costume always reflects the figurative features of the hero and at the same time is conceived in motion, created in unity with the idea and work of the choreographer. Virsaladze dresses not so much the characters as the dance. His costumes are distinguished by high, often refined taste. Their cut and color bring out and emphasize dance moves. The costumes in Virsaladze's performances are brought into a certain system that corresponds to the peculiarities of the choreography. They are matched in color with the scenery, developing their pictorial theme, adding new colorful strokes, dynamizing them in accordance with the dance and music. Virsaladze's works are characterized by a kind of "picturesque symphonism", largely created by the ballet costume system.
Modern ballet theater is characterized by a variety of artistic costume solutions. He transforms the entire historical experience of the development of the costume, subordinating it to the special artistic tasks of a particular performance.

The history of ballet costumes began several centuries ago. The first prima ballerinas were forced to wear, although luxurious in appearance, but extremely heavy dresses: puffy long skirts and corsets were decorated with scatterings of stones, pearls, flounces, which made the movements constrained. Ballet clothing for women has changed completely thanks to the choreographer Filippo Taglioni, who in the 19th century first developed a completely new costume and came up with pointe shoes for his daughter. Other connoisseurs of history claim that Maria Taglioni became the discoverer, but the clothing design itself was created by the artist Eugene Lamy. And for the first time in March 1839, the world saw Maria Taglioni on pointe, gracefully performing complex ballet steps.

Since then, ballet clothing began to change rapidly, becoming shorter and lighter. After all, it was really difficult to dance on pointe shoes in bulky skirts with heavy corsets. Skirts began to be sewn from airy fabrics, their length was up to the knees, slightly changing either up or down. The volume also gradually decreased.

A whole epoch in the development of ballet in the USSR was the period of the "Iron Curtain". Then the classic tutu became the most common. And due to the fact that the trends of Western fashionistas were closed to Soviet ballerinas, over time, the world community recognized that the Russian school has no equal in technique and beauty of performance. Graceful lines of the body, honed to the ideal of movement - Russian ballerinas have been admired by everyone from the moment the "curtain" fell to the present day.

In modern dance, there are no such strict requirements for clothing. For example, ballet costume for a girl, it may consist of a training skirt and tights, a swimsuit and white socks. Of course, for performances, the costume will be completely different. But, nevertheless, ballerinas today perform in tight-fitting dresses, in tights, in free-cut skirts and, of course, they cannot do without a classic sun skirt.

The pack always deserves special attention. After all, it is with her that the ballerina costume gets the complete completion of the image. The most common types of packs are:

1. The classic tutu is a round, standing skirt of 10-12 layers, which can be seen on ballerinas in such productions as, for example, " Swan Lake"," Don Quixote "," Paquita ", etc. Most often, a steel hoop is inserted into it for rigid fixation. An exception may be bundles for the smallest. To keep the skirt always in shape, it is preferable to store it in a standing position in a special case .

2. Tutu-bell or chopinka - an elongated, airy skirt. It does not have rigid rings, and the number of layers of fabric is much less than in the classic one. Thanks to this, ballerinas look especially reverent and tender. Chopinka is ideal for playing romantic roles. For example, for the production of "Sylphilia", "Vision of the Rose".

3. Chiton - a single-layer guipure skirt that adds fragility to an already slender female body on the stage. Most often worn for the production of "Romeo and Juliet".

Any ballet clothing that you can buy from us reflects individuality, emphasizes sophistication and femininity. Although it seems that, for example, a classic skirt cannot be sewn in a different way, slightly lowering the edges or raising them will turn out completely new image! Decorate with beads, rhinestones, pearls, stripes, feathers - and now you get a completely new costume that no one else has. Contact us - and we will make your image perfect!

It is rightly considered the highest stage of choreographic art, where the dance turns into a musical stage performance. This art form arose in the 15th-16th centuries, much later than dance. Initially, it was a court-aristocratic art. Dance is the main means of expression in ballet, but the dramaturgical basis, scenography, the work of costume and lighting designers are of no small importance.

Classical ballet is a story dance where dancers always tell a story through dance. The classic multi-act ballet is traditionally dedicated to myths, fairy tales, historical topics. Genre performances can be heroic, comic, folklore.

The origin of the name is either the Latin ballo - “I dance”, or the French balleto, which has the same meaning.

Ballet is both a dance performance and a variety of theatrical and musical art, where expressive artistic images are created with the help of plasticity and choreography.

The theatricalization of dance began in Italy in the 15th century, when dance masters began to create court and ballroom dances based on folk dances.

First ballet

The first ballet performance, where dance, music, pantomime and the word were combined, was staged in France at the court of Catherine de Medici at the end of the 16th century. It was called "Circe and the Nymphs" and was staged by Baltazarini di Belgiojoso, a wonderful choreographer and violinist who arrived from Italy with his violin orchestra.

It was a production with an ancient plot, which laid the foundation for the development of French court ballet. Interludes, pastorals, masquerades and dance divertissement quickly became the highlight of court festivities.

Basic canons of ballet compiled by Pierre Beauchamp

Any dance basically has certain rules, and the dance turned into a ballet when the choreographer Pierre Beauchamp described the canons of a noble dance manner.

Beauchamp divided the movements of the dancer into groups - jumps, squats, various body positions and rotations. The basis of this type of dance art was the principle of eversion of the legs, thanks to which the body could move in different directions. The above movements were performed based on three hand positions and five foot positions.

Development of ballet

From that moment, the development of ballet began, which became an independent art in the 18th century.

The development of ballet schools begins throughout Europe, reaching Russia, where in 1738 the Russian Imperial Ballet was founded in St. Petersburg.

The early dancers had a hard time - they wore very complex costumes, heavy skirts made it difficult to move. But gradually the costume changed - ballet shoes lost their heels, ballerinas' robes became light and airy.

Choreographers taught dancers to express emotions with gestures and facial expressions, mythological subjects were replaced by stories about distant lands, love stories and fairy tales. In this form, classical ballet has survived to this day as one of the fine arts of dance.

A bit about the history of the ballet costume A ballerina in the minds of any person is certainly represented in a tutu. This stage costume has become an integral part of classical ballet. However, this was not always the case. The modern image of a ballerina, before being finally formed, has undergone a lot of changes and has come a long way. Many may be surprised, but before the second half of XIX For centuries, ballerinas performed on stage simply in elegant dresses, which differed little from those in which the spectators came. It was a dress with a corset, a little shorter than usual, rather bulky. Ballerinas always performed in heels. The share of ballerinas was a little facilitated by the new fashion for antiquity. By the way, mythological plots began to be used in ballet, for example, Cupid and Psyche. Ladies began to wear airy, translucent dresses with a high waist. They were even slightly wetted so that the fabric fits the body better. Tights were worn under the dresses, and sandals were worn on the feet. But over time, the technique of ballerinas became more complicated and lighter clothes were required for the stage. First, the prima abandoned corsets, then shortened the skirts, and the dress itself began to fit like a second skin. Who invented the pack. For the first time in a ballet tutu, Maria Taglione appeared before the audience on March 12, 1839. On this day, there was the premiere of "La Sylphide", in which the ballerina performed the main part of the fairy fairy. For such a role, an appropriate outfit was required. It was invented for the daughter of Filippo Taglioni. According to one version, the clumsy figure of Mary became the impetus for the creation of the later classical ballet clothes. To hide the flaws, Taglioni came up with a dress that gave the whole appearance of the heroine airiness and grace. The dress was created according to the sketches of Eugene Lamy. Then the skirt was sewn from tulle. True, in those days the tutu was not at all as short as it is now. The next "transformation" of the pack happened a little later. But at first the ballet world took even such a modest attire with hostility. The tutu was especially not to the taste of ballerinas with not very beautiful legs. But the delight of the audience and art critics, who admired the airiness of the dancers, knew no bounds. Not the last role in this was played by a pack. So this costume took root, and then became a classic. By the way, there is a legend about Maria Taglioni. When she passed the border with Russia, the customs officers asked if she was carrying jewelry. Then the ballerina lifted her skirt and showed her legs. Maria was the first to take pointe shoes. How the tutu got accustomed in Russia. Tsarist Russia was conservative and did not immediately accept the novelty. This happened only half a century later. But it was in our country that the pack changed again. Prima became an innovator Bolshoi Theater Adeline Juri in the early 1900s. The capricious lady did not like the long skirt in which she was to pose for photographers. The ballerina just took the scissors and cut off a decent piece of the hem. Since then, the fashion for short packs has gone. How else has the pack changed. Although since the beginning of the 20th century the tutu has acquired the shape and form that we know to this day, people have always experimented with it. In productions, such as Marius Petipa, the ballerina could dress up in costumes of different styles. In some scenes, she appeared in the usual "civilian" dress, and for solo parts she put on a tutu to demonstrate all her skills and talent. Anna Pavlova performed in a long and wide skirt. In the 1930s and 1940s, the ballet tutu from the 19th century returned to the stage. Only now she was called differently - "shopenka". And all because Mikhail Fokin dressed the dancers in his Chopiniana. Other directors at the same time used a short and lush tutu. And since the 60s, it has turned into just a flat circle. Whatever the pack is decorated with: rhinestones, glass beads, feathers, precious stones. What are packs made of? Ballet tutus are sewn from a light translucent fabric - tulle. First, designers create a sketch. Of course, the features of the figure of each ballerina are taken into account, and therefore the sketch of the dress for each dancer is different. The width of the tutu depends on the height of the ballerina. On average, its radius is 48 cm. Next, seamstresses get down to business. This is painstaking work, because the craftswomen need to lay the folds of the fabric in a certain way. One pack takes more than 11 meters of tulle. It takes about two weeks to make one pack. With all the variety of models, there are strict rules for tailoring. For example, neither zippers nor buttons are ever sewn onto packs, which can come off during a performance. Only hooks are used as fasteners, but in strict sequence, or rather, in a checkerboard pattern. And sometimes, if the production is particularly difficult, the tutus are sewn up by hand on the dancer before going on stage. What are the packs. The pack has many names. So, if you hear the words “tunic” or “tutu” somewhere, know that they mean the same pack. Now let's figure out what types of packs are. The classic tutu is a pancake-shaped skirt. By the way, the soloists are directly involved in the creation of their costume. They can opt for a tutu shape that can be parallel to the floor or with a slightly dropped skirt. "Shopenka", a long skirt, I also sew from tulle. This form of skirt is very good for creating mythical characters or inanimate creatures. The advantage of such an outfit is that it hides insufficiently tightened knees and other shortcomings, but it draws attention to the feet. Another type of dress that does not go out of ballet use is a tunic. His skirt is single-layer, sewn more often from chiffon. In this dress, the role of Juliet is played. Why do we need tutus during rehearsals. For rehearsals of ballet performances, tutus are sewn separately. They are easier to put on and take off than those in which ballerinas go on stage. So, all parts of a stage costume can be sewn together, while for rehearsals a bodice is not needed, but only a skirt with panties is used. Also, rehearsal packs don't have that many layers. A rehearsal tutu is a must. After all, dancers should immediately see where the tutu will interfere, where it can ride up or be hurt by a partner. And the director will be able to form a dance pattern. Where else is a tutu used? The tutu is so firmly entrenched that it is used not only on the ballet stage. True, outside of her pack serves for comic numbers of variety artists and even in the circus.

Continuing to explore the Internet for a match to the search word "ballet", I stumbled upon my favorite resource Gey.ru, the inhabitants of which, as it turned out, are very fond of ballet. And they give him a lot of attention.
Here is what I discovered on the most interesting (and discussed more than once) topic of ballet costume.

Men's ballet costume: from camisole and pantaloons to full nudity

For men in a ballet costume, it all started with such a bells and whistles that today it is impossible to even imagine how in such outfits one could not only dance, but simply move around the stage. But the dancers showed themselves to be real fighters for the complete liberation of the body from the rag shackles. True, the path that they had to travel to appear in front of the audience almost naked, only covering the "shame" with a fig leaf called a bandage, or even naked, turned out to be long, thorny and scandalous.
Skirt on the frame
What was a dancer in the early days of ballet? The artist's face was hidden by a mask, his head was decorated with a high wig with fluffy fluffy hair, the ends of which fell on his back. Over the wig was put on another incredible headdress. Suit fabrics were heavy, dense, generously whipped. The dancer appeared on stage in a skirt on a frame, reaching almost to the knee, and in high-heeled shoes. Mantles of gold and silver brocade were also used in men's attire, reaching back to the heels. Well, just a Christmas tree, just not glowing with multi-colored electric bulbs.
By the end of the 18th century, the ballet costume gradually began to change, becoming lighter and more elegant. The reason is the more complicated dance technique, which requires the release of the male body from heavy outfits. Costume innovations, as always, are dictated by the trendsetter - Paris. The lead performer now wears a Greek tunic and sandals, the straps of which wrap around the ankle and base of the calf of the bare legs. The dancer of the demi-character genre performs in a short camisole, knickers and long stockings, the dancer of the characteristic role - in a theatrical shirt with an open collar, jacket and pants. In the second half of the 18th century, such an important attribute of men's attire appears, which, by the way, has survived to this day, as a flesh-colored tights. This amazing invention is attributed to the costume designer of the Paris Opera Mallo. But it is unlikely that this talented monsieur imagined that his tight-knit product would turn into something elastic in the 20th century.
Albert without pants
Everything went according to tradition and decency, until the great reformer of the ballet theater and a passionate admirer of the hot male body, Sergei Diaghilev, showed the world his entreprise - Diaghilev's Russian Seasons. This is where it all started - scandals, noise, hysteria and all sorts of stories associated with both Diaghilev himself and his lovers. After all, if earlier a ballerina reigned on the stage, and the dancer played the role of an obedient gentleman with her - he helped with rotation so that he would not fall, lifted him higher to show the balletomanes what was under her skirts, then Diaghilev makes the dancer the main character of his performances.
A loud scandal, connected not with Diaghilev's special sexual orientation, but only with a stage costume, erupted in 1911 at the play "Giselle", in which Vaslav Nijinsky - Diaghilev's official lover - danced Count Albert. The dancer was wearing everything that was required for the role - a leotard, a shirt, a short tunic, but there were no panties, which were mandatory for a dancer at that time. And therefore, Nijinsky's expressive hips appeared to the audience in their frank appetizing, which outraged Empress Maria Feodorovna, who was present at the performance. The scandalous story ended with the dismissal of Nijinsky "for disobedience and disrespect" to the imperial stage. But the dance search for the artist did not stop, he continued his struggle for the freedom of the body in dance. In the same year, Nijinsky appeared in the ballet "The Phantom of the Rose" in a costume designed by Lev Bakst, fitting the figure like a glove. A little later, in The Afternoon of a Faun, the dancer Nijinsky appears on stage in such a bold leotard, which still looks modern and sexy today. True, all these revelations are already taking place outside the native, but stubborn Russia.

That sweet word is bandage
In the fifties, the wizard of dance, idolizing the body, especially the male, Maurice Bejart came up with a universal outfit for the dancer and dancer: a girl in black tights, a young man in tights and bare-chested. Then the young man's outfit is improved, and the young man remains in only one bandage. But in the Soviet Union, as you know, there was no sex. He was not on the ballet stage either. Yes, of course, love existed, but pure - "The Fountain of Bakhchisaray", "Romeo and Juliet", but no frankness. This also applies to men's clothing. The dancer put on tight underpants, over them tights, and on top of the tights also cotton-wool pants. Even though you look through the most powerful telescope, you will not see any charms. Nevertheless, there were shameless daredevils in the Soviet fatherland who did not want to put up with such a uniform. They say that at one of the performances at the Kirov (Mariinsky) Theater, in 1957, the outstanding dancer Vakhtang Chabukiani appeared on stage in a very frank form: in white leggings worn directly on his naked body. Success has surpassed all conceivable limits. Sharp-tongued, the outstanding ballet teacher Agrippina Vaganova, at the sight of the dancer, turned to those sitting with her in the box and quipped: "I see such a bouquet even without eyepieces!"
In the footsteps of Chabukiani, another Kirovsky dancer followed, at that time not yet a ballet dissident and a world-famous gay, but just a theater soloist, Rudolf Nureyev. The first two acts of "Don Quixote" he danced in a traditional costume, permitted by the Soviet authorities - in tights, over which short pants with puffs were worn. Before the third act, a real scandal erupted behind the scenes: the artist wanted to wear only a white tight-fitting leotard over a special ballet bandage and no pants: “I don’t need these lampshades,” he said. The theatrical authorities dragged out the intermission for an hour, trying to persuade Nureyev. When the curtain finally opened, the audience was shocked: it seemed to everyone that he forgot to put on his pants.
Rudolf generally strove for maximum nudity. In Corsair, he went out with a bare chest, and in Don Quixote, an incredibly thin leotard created the illusion of bare skin. But at full power, the artist turned around already outside the Soviet homeland. So, in the "Sleeping Beauty", staged by him for the National Ballet of Canada, Nureyev appears wrapped in a floor-length cloak. Then he turns his back to the audience and slowly, slowly lowers the cloak until it freezes just below the buttocks.

Between the legs - coat shoulder
Tells theater artist Alla Kozhenkova:
- We did one ballet performance. During the fitting of the costume, the soloist tells me that he does not like the costume. I can’t understand what’s the matter: everything fits well, he looks great in this suit ... And suddenly it dawns on me - he doesn’t like the codpiece, it seems that it is too small. The next day I say to the dressmaker: "Please take the shoulder from the coat and insert it into the bandage." She told me: "Why? Why?" I told her: "Listen, I know what I'm saying, he will like it." At the next fitting, the dancer puts on the same costume and happily tells me: "You see, it has become much better." And after a second he adds: "Only it seems to me that you inserted a female shoulder, but it is small ... you need to insert a male one." I couldn't help laughing, but I did as he asked. The dressmaker sewed a shoulder from the raglan sleeve of a man's coat into the bandage. The artist was in seventh heaven with happiness.
Once a hare's foot was inserted, but now it is no longer in fashion - not the format, but the coat shoulder is what you need.
Nureyev was a pioneer in nudity in Leningrad, and in Moscow he was rivaled by Maris Liepa. Like Nureyev, he adored his body and just as resolutely exposed it. It was Liepa who was the first in the capital to take the stage in a bandage worn under a tights.
Man or woman?
But the most interesting thing is that men in the twentieth century tried not only to expose their bodies as much as possible, but also to cover them up. Some especially liked the women's ballet costumes. A real shock was caused in Russia by the creation of Valery Mikhailovsky's Men's Ballet, whose artists, in all seriousness, performed the women's repertoire in the most real ladies' outfits.
- Valery, who came up with the idea to create such an unusual troupe? I ask Mikhailovsky.
- The idea belongs to me.
- Now it is difficult to impress the public with something, but how your, so to speak, female-male dances were perceived ten years ago, when the team appeared. Have you been accused of homosexual shocking?
- Yes, it was not easy. There were all kinds of gossip. Nevertheless, the audience welcomes us with pleasure. And there were no accusations of homosexuality. Although everyone is free to think and see what he wants. We are not going to convince anyone.
- Did something similar exist in the world of dance before your male ballet?
- There is a Trocadero de Monte Carlo company in New York, but what they do is completely different. They have a crude parody of classical dance. We also parody ballet, but we do it, owning a profession.
- You want to say that you have mastered the technique of female classical dance to perfection?
- In general, we did not initially try to replace a woman in ballet. A woman is so beautiful that it is not worth encroaching on her. And no matter how elegant, refined, plastic a man is, he will never dance the way a woman dances. Therefore, women's parts should be danced with humor. What we are demonstrating.
But first, of course, it was necessary to master the female technique.
- And what is the size of your young men's shoes? Male or female?
- From forty-one to forty-three. And this was also a problem - there are no women's ballet shoes of this size in nature, so they are made to order for us. By the way, each of the dancers has their own name block.
- How do you hide your manhood - muscles, chest hair and all sorts of other juicy details?
- We do not hide anything and do not try to mislead the public; on the contrary, we emphasize that not women, but men speak before them.
- And yet, someone can be deceived. There must have been a lot of funny episodes?
- Yes, that was enough. It was, it seems, was in Perm. The guys, already made up, in wigs, are warming up on stage before the start of the performance, and I stand backstage and hear the conversation of two cleaners. One says to the other: "Listen, have you ever seen such hefty ballerinas?" To which she replies: "No, never, but do you hear what bass they are talking about?" - "Yes, what is there to be surprised, all smoky."
- Did any of the male viewers offer your artists a hand and a heart?
- No. True, once one spectator who paid a lot of money for a ticket came backstage and demanded that they prove to him that not women but men were speaking in front of him, they say, looking from the auditorium, he did not make out.
- And how did you prove it?
- The guys were already undressed, without packs, and he understood everything.
Everything is filmed
In fact, today you can’t surprise the audience with anything: neither a man in a tutu, nor the tightest leotards, or even a bandage. If only with a naked body ... Today, more and more often, a naked body appears in groups that profess modern dance. This is a kind of bait and seductive toy. A naked body can be sad, pathetic or playful. Such a joke was played in Moscow a few years ago by the American troupe Ted Shawn's Dancing Men. Young people appeared on the stage, modestly dressed in short women's dresses, reminiscent of combinations. No sooner had the dance begun than the auditorium went into ecstasy. The fact is that under the skirts the men were wearing nothing. The audience, in a mad desire to get a better look at the rich men's economy, which suddenly opened up to them, almost flew off their seats. The heads of the enthusiastic spectators twisted after the dance pirouettes, and the eyes seemed to be going out of the eyepieces of the binoculars, which in an instant stuck to the stage where the dancers frolicked heartily in their mischievous dance. It was both funny and exciting, stronger than any of the coolest striptease.
Our former compatriot and now international star Vladimir Malakhov performs completely naked in one of the ballets. By the way, when Vladimir still lived in Moscow, he was severely beaten in the entrance of his own house (so he had to have stitches on his head) precisely because of his non-traditional sexual orientation. Now Malakhov dances all over the world, including completely naked. He himself believes that nudity is not shocking, but the artistic imagery of the ballet in which he dances.

At the end of the 20th century, the body won over the costume in the struggle for its freedom. And it's natural. After all, what is a ballet performance? It is a dance of bodies awakening the bodies of the spectators. And it is best to watch such a performance with the body, not with the eyes. It is for this bodily awakening of the audience that the dance body needs complete freedom. So long live freedom!
The article is taken from the information resource www.gay.ru.