Showing posts with label dancers. Show all posts
Showing posts with label dancers. Show all posts

Masquerade

Venetian masks are known world over for their elaborate designs and striking colour combinations. They are generally thought of as only being worn during Carnevale di Venezia (Carnival of Venice), but this wasn't always the case.

Originally, the masks were worn daily; and by doing so the wearer could hide his or her identity and status. A high born lady could wander the streets of the market, a common man could pass himself off as a successful merchant. The masks also allowed the wearer to act more freely without the constraints of their given social class and ignore the boundaries that would otherwise apply. This was especially true at a party, where the host would not have known whether the wearer was high born or not but could not risk offending invited guests, and so would have to have welcomed everyone wearing a mask. This is what makes the story of the Montagues sneaking into the Capulet masked ball without detection plausible (Romeo and Juliet).

However, given the possibility, the mask could be used for good as well as bad intent; one might sneak out from their manor house to speak with their lover in another part of town, opinions might be more openly voiced in conversation, or a knife might find its way into an enemy's back. Who was that masked man? Nobody knows.

Therefore, the daily use of masks was restricted - almost disappeared except for on rare occasion. Then, in 1162, a festival was held to commemorate a military victory. The festival became an annual tradition, and as it developed and became larger and more colourful each year, the Carnevale di Venezia was born. The masks became more and more elaborate and the balls, dances and parties lasted for days. That is, until 1797 when the King of Austria outlawed the Carnival and strictly forbid the wearing of masks.

Over the next 200 years, masks were usually only worn at private parties or at exhibitions as part of an artistic expression.  In 1980, a Carnival revival began in an effort to attract tourists to Venice.

There are three popular types of masks worn at Carnival. The first is the Bauta, which hides the whole face, but extends away from the lower part of the face so that the wearer can still eat. The extension also acts as a tunnel and alters the voice of the wearer, furthering the disguise. A Columbina is a half mask, which is often highly decorated with feathers and silk flowers, and is either held up to the face by a baton or tied around the head with a ribbon. Medico della Peste (the Plague Doctor) is the third type of mask, which got its ominous name from the Plague in Italy during the 17th century when it was worn as a precautionary measure against contracting the disease. It is easily recognized with its long beak and stark appearance without decoration.

Today, you can find masks pretty much everywhere you turn in Venice. Some are authentic and made in Venice. Most are not.

Tonight is the staff party for work, and the theme is Masquerade, which is a type of masked ball. Perhaps we will see if people do indeed act more freely behind the guise of a mask (there is no worry that some one with ill intent pulls a dagger out before running off into the darkness of the night). I'm sure it will be a lot of fun.

A Year of Pretty - January 27, 2014

Happy Monday ! Today's Pretty Post is this gorgeous overhead shot of some amazingly stunning ballet costumes as the dancers wait backstage.

I found the photo on Pinterest. There was no credit given to the photographer. I have no idea where the photo originated from. I know, I know....so disappointing.

You can almost feel the anxiety of waiting in the dancers . . .wait . . . wait . . . okay, GO now!

I like how each dress is a little different from the next. Knowing how many hours of handwork are involved in making a performance dance tutu, I can only surmise that these dresses would run about $5,000.00 to $8,000.00 each and take weeks to complete. Costumes are intended to last for many years; The Royal Ballet will use costumes for 25 to 30 years!

The one area of the costume that sees the most wear and damage is at the waist line, but actually doesn't come from the dancer herself. Instead, it's a result of those sweaty man-hands of her male partner when he continually lifts her or holds her as she spins. This very often causes the fabric to discolour and deteriorate.

One of my dream jobs (yes, I have a few) would be to work on dresses such as these and then see them in action under the lights, full of movement and grace as they move across the stage.

For a great video on the life of a performance tutu, be sure to watch this video from the New York City Ballet, narrated by Mark Happel, Director of Costumes. Or this one from The Royal Ballet on the making of the Lilac Fairy's costume for Sleeping Beauty.

Enjoy your day and best wishes for the week ahead.

Beautiful Ballerinas

When I think of the word ballerina, a few images come to mind. Beauty. Poise. Grace. It is no wonder so many parents enroll their little girls (or boys for that matter) in ballet classes. For the child, it’s a chance to play dress-up and dance around the room to music. For the adult, it’s the opportunity to live vicariously through those moments. Go on, admit it.

My mom was a dancer until her late teens. There are several pictures of her en pointe, tulle tutu sticking stiffly out around her. I too was enrolled in ballet; mom took me to buy the shoes and she patiently worked with gauzy chiffon to sew me my first dance skirt. I remember wearing these to grandpa’s house because I was insistent in showing him my steps. He was so proud, but maybe some of that pride was remembering another little dancer – my mom – when she was young.

I ended my ballet early on though; I told my mom the change room was stuffy and stunk and I didn’t want to go back. So we focused on ice skating and swimming. But every once in a while I think about trying an adult ballet class to improve elements common in dancers of the genre: Poise and Grace.
Even the word Ballet contains a certain degree of beauty in the height and rhythm of the letters: up for b, down for a, then two stilts in the middle like dancer’s legs for the l’s, down again for e and finally up for the t. Up, down, up-up, down, up. Sort of like skipping along.

Now say it with me….”Ballet…I’m going to the ballet.” You drew out the second syllable and gave it a slight French air at the end, didn’t you? 
This week I found some lovely ballerina fabric in two colours: yellow and purple. It also comes in pink, but it wasn’t in stock (not surprised). And so I’m working on designing a dress that showcases both the fabric and those three hallmark elements: Beauty. Poise. Grace; while still being functional enough for every day wear.

Because if I were still a little girl, I’d want to feel like a ballerina as often as possible.