Open Access“More than in a Costume”: “Barefoot” Dancers and Russian Ballet Costume at the Beginning of the 20th Century
Author(s) -
I.A. Voytova
Publication year - 2021
Publication title -
hudožestvennaâ kulʹtura
Language(s) - English
Resource type - Journals
ISSN - 2226-0072
DOI - 10.51678/2226-0072-2021-2-366-385
Subject(s) - ballet , dance , barefoot , choreography , art , costume design , classical ballet , visual arts , parallels , modern dance , art history , history , engineering , mechanical engineering , archaeology
The beginning of reform in Russian ballet of the 1900s is connected by the most part of researchers with the first performances of Isadora Duncan in Russia (1904–1905). Her great influence on Russian ballet choreography and costume is explored well enough and indisputable. Nevertheless, free dance or “modern dance” became popular in the USA and in Europe because of Duncan’s predecessor, another American dancer Loie Fuller. It was a major tendency included creativity of such different performers as Loie Fuller, Isadora Duncan, Ruth St. Denis, Maud Allan, Mata Hari and many others. The author of the presented article uses the complex method to analyze the reforms of dancing costume carried out by so called “barefoot” dancers and their influence on Russian ballet costume at the beginning of the 20th century, revealing general transformations and some direct parallels between costumes of “barefoot” dancers and Russians ballet dancers.