The Ballet Tutu


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The Ballet Tutu

  1. 1. THE BALLET TUTUBy: Allie Yancey, Nicole Gilbert, Agustina Biggio, Aimee Bridgeman, Michelle Doval
  2. 2. B A C K G R O U N D I N F O R M AT I O N 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 ofthe first professional ballet company, the paris opera ballet Was not until the 20th century that the United States began to modifyballet, through the works of Balanchine, who developed neoclassicalballet and founded the NYC Ballet company(The History of the Ballet Tutu. 2010)
  3. 3. B A C K G R O U N D I N F O R M AT I O N In this presentation we will be covering 1800-1900 ballerina tutus A tutu is a skirt that could be attatched or not attached to abodice/leotard of some sort Usually made up of layers of tulle and other various fabrics like nylonand muslin attatched to a waistband and bodice Started out as a simple dress Russians wanted to see more of the ballerina‟s intricatefootwork, leading to the creation of the romantic style tutu.(The History of the Ballet Tutu. 2010)
  4. 4. B A C K G R O U N D I N F O R M AT I O N 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 aswell as in fabric technology, tutus have slowly become waymore intricate and modern.(The History of the Ballet Tutu. 2010)
  5. 5. B A C K G R O U N D I N F O R M AT I O N 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)
  6. 6. TUTUS OF TODAY Pancake/Platter  Romantic lkbWMq8KWQk/T5HMtMzcMnI/AAAAAAAAAJo /n412RCvJtko/s320/plattertutu.jpg heatre/images/ClRomanticTutu.jpg
  7. 7. TUTUS OF TODAY  Powder-Puff  Bell 3000/il_fullxfull.355986913_2mee.jp0/karinska_2_big.jpg g
  8. 8. B A C K G R O U N D I N F O R M AT I O N Tutus are worn on stage, the more elaborate ones areused in actual performances while most professional dancershave some sort of a “practice tutu” which usually tends to bea bell tutu and allows the dancer to practice as if she waswearing her costume. Ballet Tutus are utilized all around the world.France, Russia, United States, Argentina, everywhere balletis danced(The History of the Ballet Tutu. 2010)
  9. 9. 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://image.made-in-Q1Q/Tciq0HhlO5I/AAAAA atalog/tablecloth_organza2.jpg KEbhl/50d-Chiffon-Fabric-600/bobbinet+4.jpg 50D-.jpg
  10. 10. 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) content/uploads/2011/05/Tulle- oadfile/product_big/201231leads/377/376722.jpg 3643i3/mesh-fabric- fabric.jpg 51540135593.jpg 209.jpg
  11. 11. IDEOLOGY Ballet was heavily influenced by the ending of the FrenchRevolution at the beginning of the 1800‟s. In the early 1800‟s, the dress of ballet began to mark the ideaof more freedom in dress for women and the freedom ofexpression. This is when the clothing of ballet shifted into the RomanticBallet, with more free-flowing garments. These garments weremore comfortable for the dancer to wear and allowed them tomove more freely.(Martin, D. , Gabriel, N. , 2001)
  12. 12. IDEOLOGY This is where a shift occurred from ballet being a courtlyaristocratic art, to being entertainment for the masses. Balletwas seen as an art form, a form of expression. The romantic ballerina symbolized purity and values, withher garments being white and less adorned.(Martin, D. , Gabriel, N. , 2001)
  13. 13. TRADITION AND CHANGE1800s Romantic ballet Told stories taken from ancient freak myths and dramas People became interested in stories of dreamlike worlds andforeign lands Ballet technique expressed new ideas – made them lookheavenly Made women for the first time look ideal and more importancethan men
  14. 14. TRADITION AND CHANGE First romantic ballet was created by Italian choreographer FilippoTaglioni • 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).
  15. 15. 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 createsmall platform Pierina Legnani became a superstar by perfecting 32consecutive fouettes Costumes were evolving – romantic tutu was in vogue Most ballet were performed in France and London(The 1800s and the Romantic Ballet. 2012)
  16. 16. TRADITION AND CHANGE1900s Europe- opera houses benefitted from the emigration ofRussian dancers after the Russian revolution (1917) Many choreographers based works on dramatic action(The 1800s and the Romantic Ballet. 2012)
  17. 17. TRADITION AND CHANGE Baroque costume – very heavy, stiff and usually ornate in the corset of thedress, very long covered most of the legsPrevented flexible movement of the torso, weighed down the dancer, preventedviewers from seeing foot work of the dancer Romantic TutuCorset less stiff with loss of ornate designsDancers could bend backwards and do circular movements with torsoThe skirt cut above ankles to allow audience to see foot work, consisted of 3layer of light material (tulle or muslin) this eliminated weight(Field, A. 2011)
  18. 18. TRADITION AND CHANGE Classical tutuSkirt started at hips and came out horizontally on a diagonal endingabove the kneeSkirt consisted of more layers than the romantic; the material used nowwas a net like material making a shape of a “bell” Bell tutuMix of romantic and classicalSkirt has more layers of fabric and is shorter than romantic tutu thematerial used was could be either tulle or net or both(Field, A. 2011)
  19. 19. TRADITION AND CHANGE TodayAll the tutus are in use, the romantic and the classical tutushave two main styles: The two romantic styles are calledRomantic tutu and romantic tutu with Basque, the two mainclassical are called Platter classical tutu and the powder puffclassical tutu(Field, A. 2011)
  20. 20. F U N C T I O N - B O T H M AT E R I A L AND IDEOLOGICAL Neoclassicism of the late eighteenth and early nineteenth centuriesfeatured a shift from heavy embellished embroidery, long skirts, anddefined 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 enhancedthe shape of the female body(Chazin-Bennahum, J 2002)
  21. 21. F U N C T I O N - B O T H M AT E R I A L AND IDEOLOGICAL The tunic‟s soft fabric and definition without corsetsemphasized that women‟s bodies were becoming moresensual, and clothing material was becoming morecomfortable • 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)
  22. 22. F U N C T I O N - B O T H M AT E R I A L AND IDEOLOGICAL In the 1800‟s during the Romantic Movement, the tutulength developed to be a calf length skirt. • Made of layers of white tulle to show off the elaborate footwork (Wagner, C. 2002) content/uploads/2012/10/ballet-tutu- romantic.jpg
  23. 23. F U N C T I O N - B O T H M AT E R I A L AND IDEOLOGICAL Ballet shoes of the 18th century were small heeled orheelless slippers with satin ribbons that tied around the ankleresembling 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)
  24. 24. F U N C T I O N - B O T H M AT E R I A L AND IDEOLOGICAL The continuing change of the different types of shoes reflected howwomen‟s feet appeared to society as well as how they were able to moveand 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 timeemanated the classical notions of simplicity and purity(Chazin-Bennahum, J 2002)
  25. 25. CITATIONSThe History of the Ballet Tutu. (2010). EzineArticles Submission -Submit Your Best Quality Original Articles For Massive Exposure, EzinePublishers Get 25 Free Article Reprints. Retrieved November 6, 2012,from - Fabrics Main Page. (2012). Tutu.Com Home - Specializing inAll Things Ballet!. Retrieved November 6, 2012, from, D. , Gabriel, N. , 2001. An „Informalizing Spurt‟ in Clothing Regimes: Court Ballet and theCivilizing Process. In Dressed to Impress. Retrieved 28 Nov. 2012, from
  26. 26. CITATIONSBallet History. (2004). A Ballerinas World. Retrieved November 6,2012, from History - 1700s, 1800s & 1900s. (2008). Just Ballet. RetrievedNovember 6, 2012, from 1800s and the Romantic Ballet. (2012). Everything You Want to KnowAbout Ballet | Wish Upon a Ballet. Retrieved November 6, 2012, from, A. (2011). How The Ballet Tutu Has Changed Over Time. ArticleSnatch. Retrieved November 28, 2012, from, J (2002). A Longing for Perfection: NeoclassicFashion and Ballet. Fashion Theory, 6(4), 369 - 386.Wagner, C. (2002). Ballet costumes: Historical development. Historical Boy’s Clothing. Retrieved November 27, 2012., from