DThe title of Elna Matamoros’s book perfectly summarizes her research results. Her story about dance and its costumes is about the possibilities of enveloping sports, and about the interaction between costumes and sports. When designing dance costumes, it is more than just dressing up the stage characters in a way that can identify the characters depicted. This process is more complicated, as Jane Pritchard, the dance curator of the Victoria and Albert Museum in London, described in her preface: “Clothing becomes part of dance”, “The most interesting costume is along the movement.” Closely created, choreographer and design dancer”.
Over the centuries, this kind of clothing has developed so much in the direction of greater freedom of movement that historical narratives have been interpreted as a gradual decrease and decrease in performance. From the omission of masks, wigs or headwear, to the continuous exposure of the ankles, calves, knees and thighs and leading to the tights, the end result is the nakedness of Rudolf von Laban dancing outdoors in the early twentieth century. Male century.
Nudity as an aesthetic possibility
When dancing on stage, Matamoros found that nakedness is even more problematic, because without all the freedom that wear and tear may bring, it also inhibits the dancers’ movements in front of the audience, and they face the audience in the most intimate way. Dancer and costume designer Lydia Azzopardi once said that “putting on dancers is more interesting than taking them off”. One of the best examples of this paper is Merce and Cunninghams Andy Warhol Cooperated in the “Rainforest” in 1968. Between the silver cushions filled with helium, they danced on the unpredictable flight path on the stage, wearing a complexion sweatshirt with many big holes. After Warhol initially suggested that dancers perform nude, Cunningham and Warhol agreed to the jerseys, but the choreographer refused. In dances like “Rainforest”, the jersey is a good idea. In order to emphasize the animal nature of movement, muscles need to show themselves, but here nudes will be overemphasized as a representation of sexual creatures.
Elna Matamoros, a classically trained dancer, made Cunningham appear elsewhere, but was independent of each other in the creation of costumes and costumes dance Rarely in the beginning-because this attitude does not fit their argument about the mutual influence of dance and costume design. Therefore, the author concludes the previous chapter of “Uncovering the Body” without this good example, but very calmly puts forward the following argument, namely that nudity “is not a surprise or social achievement on today’s stage, but just another An aesthetic possibility”.
The muses and stars of every show
If you look at the photos of American modern dancers Ruth St. Denis and Ted Shawn-they co-owned Denishawn in the early 20th century-then you will see that as modernity begins, lush, heavy, and people may be It is believed that helmets that hinder movement may reappear. It’s like fashion-everything will be reversed, and it’s easy to change. In addition to a fur blanket in Ted Shawn’s hand, he also wore a majestic feather headdress, which was used in this work “Xochitl”. The more luxurious the clothing, the more movements, and the more unpleasant movements, people may think-anyway, this is to find the right balance between these elements.
