The meaning of the word “pack” in 7 dictionaries
Several similar items folded, packaged together, and generally packaging
(in 3 digits). P. tea, butter, cookies. P. newspapers. Cigarettes in packs.
Part of the ballerina’s costume is short and fluffy, in several layers, a skirt (special).
• Shoot in packs
(obsolete) fire in volleys at short intervals.
aya, oe (to 1 meaning; special).
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Ballet tutu – buy or order at the crafts fair | handmade goods
Active recreation and entertainment
Tutu in the 20th century
At the beginning of the 20th century, the ballet tutu had already acquired the appearance of a short multi-layer springy skirt with a bodice sewn to it, but the romantic “bell” tutu did not disappear from the scene. In 1907, Mikhail Fokine dressed his dancers in the ballet “Chopiniana” in flowing elongated skirts, thanks to which the name “Chopiniana” was established.
In the 1930s, technological advances in the textile industry allowed tutus to be made from synthetic materials, making them significantly lighter. And in the 1950-1970s, it was fashionable to attach the skirt to the bodice at hip level.
Tutu in the 21st century
Today, in classical ballet, the “tablet” tutu continues to exist along with the “chopinka”. If a short ballet skirt is usually sewn to a bodice and panties, then an elongated one is worn on a bodysuit. The fashion for reconstructions of ancient ballets has brought heavy, authentic tutus back into costume costumes, and modern stage designers continue to look for new forms – for example, for Forsyth’s ballet “The Dizzy Rapture of Precision,” artist Stefan Galloway created absolutely flat ballet skirts.
The public first saw a ballet tutu on March 12, 1832, at the premiere of La Sylphide at the Grand Opera – the performer of the main role, Maria Taglioni, appeared before the audience in a fluffy snow-white skirt made of several layers of tulle, revealing her legs to mid-calf.
At that time, some ballerinas had already begun to dance in pointe shoes, but the “pillette skirt” was still far away, but Taglioni’s attire can be considered the first “chopinka” – the skirt of romantic ballets. The costumes for “La Sylphide” were made according to sketches by the artist Eugene Lamy, but there is an opinion that the design was invented by the choreographer and father of the ballerina Filippo Taglioni, who wanted to correct his daughter’s awkward proportions in this way.
First short packs
In the 1850s, fashion again made its contribution to the ballet costume – they began to add pomp to tutus with the help of crinolines that were popular at that time, but the length of the skirt remained unchanged for another three decades, and only in the 1880s the skirt began to barely cover the knees, and in the 1890s it opened the hips a little.
The need for shorter tutus is associated with significant progress in dancers’ ballet technique – the legs needed more freedom to perform virtuoso elements. Such costumes for ballerinas became an integral part of Petipa’s ballets, however, for example, in Denmark, in Bournonville’s productions, dancers still danced in flowing skirts.