Tutu
An early 19-century word probably based on the French baby-talk cul-cul, meaning bottom or backside, is the term that now universally describes the ballerina’s starchy, layered skirt of tarletan or tulle. (Some suggest the word’s origin comes from ‘tulle’.) In Paris, the term juponnage was sometimes used for the same skirt, because jupon, meaning ‘petticoat’ or ‘slip, kept the reference to the ‘underskirt’ quality of the garment. Different degrees of gathering, stiffness, and length separate tutus known as ‘romantic tutus’, acknowledging the origins of the skirt’s prototype on Marie Taglioni in La Sylphide.Shorter, stiffer, more leg-revealing tutus have become know as ‘classical’ tutus which Michel Fokine once unfavorably likened to the look of an ‘open parasol’. The separately constructed but aesthetically coordinated bodice of the tutu completes the ballerina’s tutu costume, whether classical or romantic length. The ‘building’ of the trim, fitted bodice is as important as that of the skirt, which traditionally sits down on the hips rather than directly at the waist. Ukrainian-born Bokbara Karinska, the longtime artistic collaborator and costumer for George Balanchine, did groundbreaking work in the twentieth century toward making the tutu bodice workable, comfortable, and pretty.
Pas de deux
Means ‘dance for two’ and has, since the 19 century, become one of ballet’s most expressive forms. Sometimes called ‘supported’ adagio, pas de duex became the piece de résistance of the ballet structure in the classical ballet age of Prtipa. This formal coming together involved, in order, an entrée (for both dancers), an adagio (for both working together), solo variations (for each of the duet’s participants), and a coda (a climactic, lively coming together for the two to finish as a couple)(see above). Almost all the ballets focused on in these bolos have prominent pas de duex.
Reference:
An early 19-century word probably based on the French baby-talk cul-cul, meaning bottom or backside, is the term that now universally describes the ballerina’s starchy, layered skirt of tarletan or tulle. (Some suggest the word’s origin comes from ‘tulle’.) In Paris, the term juponnage was sometimes used for the same skirt, because jupon, meaning ‘petticoat’ or ‘slip, kept the reference to the ‘underskirt’ quality of the garment. Different degrees of gathering, stiffness, and length separate tutus known as ‘romantic tutus’, acknowledging the origins of the skirt’s prototype on Marie Taglioni in La Sylphide.Shorter, stiffer, more leg-revealing tutus have become know as ‘classical’ tutus which Michel Fokine once unfavorably likened to the look of an ‘open parasol’. The separately constructed but aesthetically coordinated bodice of the tutu completes the ballerina’s tutu costume, whether classical or romantic length. The ‘building’ of the trim, fitted bodice is as important as that of the skirt, which traditionally sits down on the hips rather than directly at the waist. Ukrainian-born Bokbara Karinska, the longtime artistic collaborator and costumer for George Balanchine, did groundbreaking work in the twentieth century toward making the tutu bodice workable, comfortable, and pretty.
Pas de deux
Means ‘dance for two’ and has, since the 19 century, become one of ballet’s most expressive forms. Sometimes called ‘supported’ adagio, pas de duex became the piece de résistance of the ballet structure in the classical ballet age of Prtipa. This formal coming together involved, in order, an entrée (for both dancers), an adagio (for both working together), solo variations (for each of the duet’s participants), and a coda (a climactic, lively coming together for the two to finish as a couple)(see above). Almost all the ballets focused on in these bolos have prominent pas de duex.
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