Hello lovelies! Emma here, back again for another Tuesday in the history of ballet. Now, hold onto your tutus, darlings, because we're travelling back to a time when ballet was finding its wings, evolving from its courtly origins to become the magical art form we know and love today! Buckle up for a journey through time!
Let's Talk about 27th December 1870, shall we?
That day, my dear friends, wouldn't have looked drastically different from any other in terms of fashion for dancers. Now, let's not get carried away and think tutus in the 1870s resembled the grand, voluminous tutus we wear today. The style was far more modest!
Think about those glorious ballerina outfits you see on your favourite ballerinas - that airy, cloud-like fabric we see in productions of classics like Swan Lake, or the captivating costumes for Sleeping Beauty - it was all a bit more 'down-to-earth' at the end of the 19th Century!
Back in 1870, the dancers, mostly women of course (a delightful irony given today's push for inclusion in ballet, don't you think?), would have graced the stage in calf-length tutus, not quite as poofy as our present-day favourites. Think about it, darling! They had to be practical! Dancing in full-blown ball gown-inspired tutus, back then, would have been akin to running a marathon in a cocktail dress - fun, maybe, but certainly not practical!
The material, instead of being the tulle or netting we associate with ballet, was usually a stiff, taffeta or silk. They were very much designed to accentuate the elegance of movement, but still had the look of a 'proper' garment - oh the social pressures, I can hear you saying. Now imagine dancing on a stage with layers of silks and stiffer fabrics on, it really took grace and artistry!
This era was a fascinating one in ballet's evolution. They were moving away from the strictness of court dances and heading toward the expressiveness of a more Romantic period in ballet - you know, that 'Juliet and Romeo' feeling! The Romantic Era saw a strong focus on lyrical movements and story-telling in ballet. The focus was on emotional connection.
I imagine there were still debates over what was too short, too low, too provocative, oh the stories we could tell if we were flies on the wall of a ballet studio at that time! But luckily, for the time being, it remained more practical and respectable (well, depending on your perspective on silk or taffeta as dancewear I suppose!), rather than being a literal stage costume as it would later become.
So how was I, the little time-traveling pink tutu devotee, able to reach 1870s Paris for my latest ballet-tastic research expedition?
Ah, you see darling, it's all about those grand ballets, my dear. This week, I made a splash at the Royal Opera House in London. I absolutely wowed the audience with a special dance routine based on The Nutcracker. Itās my go-to performance for funding my trips, it never fails to enchant.
The stage is my way of making it to places that otherwise only existed in dusty old books for me. After the roaring applause and some lovely, charitable donations (all my ballet enthusiasts know I adore fundraising, don't they?), it was onto the magical time travelling machine I've developed. (You never knew your favourite ballerina was also an innovator in time travel, now, did you?)
As the train rattled through the English countryside towards Paris, it made me ponder about all the magnificent transformations in ballet history - how they progressed from the rigid dance styles to the fluid, emotive performances of today! I imagined a world filled with tutus, a vibrant kaleidoscope of pinks, purples, and every hue in-between, and let out a dreamy sigh.
Upon arrival at Gare du Nord, I found myself smack-dab in the midst of Parisian elegance - bustling markets, ornate architecture, a feeling of being amidst something grand and unique. Of course, no trip to Paris would be complete without visiting some exquisite fashion shops, donāt you think? My tutu-themed wardrobe needed an upgrade. And, of course, the best of Parisian couture, what else! After a long and utterly delightful day, a little pink refreshment and some delicious pastries, I finally arrived at my chosen venue.
Le ThĆ©Ć¢tre de lāOpĆ©ra.
The beauty of it, even in a less dramatic time in ballet, is nothing short of captivating. The opulence! The gold! The swirling fabrics. And, most importantly, the sense of history clinging to every step!
Here, surrounded by the grandeur of it all, I can't help but feel a profound connection with all those legendary dancers who once graced this stage, making my dreams of one day making my grand debut at a famous venue like this a little brighter.
Oh! And the performance that day. I remember it as though it was yesterday. 'CoppƩlia!' The ballerina was an exquisite sight in her layered and voluminous, though quite understated compared to modern-day designs, calf-length tulle tutu. It was stunning, elegant, with a hint of flirtation, you could see the emotion dancing across the stage and into our hearts!
A little bit of me wishes I could just shout āMove aside!ā and dance the role of Swanhilda in a bright pink tulle tutu - I think that would be the epitome of elegance! Just picture it, a flash of bright pink on that stage, how stunning! The only problem would be getting the Parisian audiences to forget that they were expecting an ivory-toned tutu. But I have a feeling my bright personality and love of colour would have persuaded the Parisian crowd!
As the evening comes to a close and the stage is lit up once again, my time machine waits at the back of the grand Opera House for me to return to the comfort of my own bed and continue with my time travelling escapades!
For next Tuesday, Iāll bring you closer to another era, a bit later this time - I hear there's a very significant event that I should be sharing, but that is a surprise, even for me, as I havenāt visited this particular time period in my research yet, oh dear, oh my!
Keep your eye on pink-tutu.com for all your tutu Tuesday needs!
Love,
Emma.
