Studies in Costume & Performance最新文献_第2页

Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design 展现嵌入服装的视觉:工具箱中的三种工具，用于从服装设计中产生表演

Studies in Costume & Performance Pub Date : 2021-12-01 DOI: 10.1386/scp_00047_1

Christina Lindgren

{"title":"Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design","authors":"Christina Lindgren","doi":"10.1386/scp_00047_1","DOIUrl":"https://doi.org/10.1386/scp_00047_1","url":null,"abstract":"Reflection and discussion on ‘how’ costume performs seems to be at the centre of inquiry of the research within the field of costume design, as presented at the Critical Costume conferences and the journal Studies in Costume and Performance. In various ways,\u0000 costumes play an important role in most performances, a costume ‘does’ things, it performs and has agency. In recent years, we have experienced an increasing number of performances where costume acts as the starting element for a performance and, more often, we hear of costume\u0000 designers instigating and leading creative processes in making performances. Costume-generated performances are about to be considered an established genre. This research report aims to share some ‘tools’ that form a methodological framework ‐ a toolbox ‐ for generating\u0000 performance with costume design as a starting point. The examples are drawn from my professional practice, informed by work undertaken in workshops held in the frame of the artistic research project ‘Costume Agency’ (2018‐21), which I have been leading in collaboration with\u0000 dramaturg and curator Sodja Lotker. I have found useful concepts in new materialism, as a critical framework that has opened up a new understanding of how humans and non-human actors interact and have adapted them for my use as a costume designer, director and researcher. The tools I focus\u0000 on here are the following three: notions of ‘agency’ in the context of costume design; the concept of ‘situated knowledges’; and ‘visual dramaturgy' from the performing arts theory. These tools have proven to be useful in the processes of generating performance\u0000 from the costume in my own practice and are offered in this research report to the wider community of costume researchers for further debate and development.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"24 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120906038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Greenham: Costume, memory and activism in outdoor performance 格林汉姆:户外表演中的服装、记忆和行动主义

Studies in Costume & Performance Pub Date : 2021-12-01 DOI: 10.1386/scp_00049_3

Valentina Ceschi, Kate Lane

{"title":"Greenham: Costume, memory and activism in outdoor performance","authors":"Valentina Ceschi, Kate Lane","doi":"10.1386/scp_00049_3","DOIUrl":"https://doi.org/10.1386/scp_00049_3","url":null,"abstract":"This visual essay illustrates the transformative, performative and narrative potential costume can have in the context of outdoor site-responsive work, by looking at Ceschi + Lane’s recent R&D project, Greenham. The project included two performances that took place\u0000 on Greenham Common, the site of a former RAF and American Army base in the English countryside, which is now common land. Greenham is also the former site of the Greenham Common Women’s Peace camp, set up in 1981 to protest against the British government allowing American cruise missiles\u0000 to be stored at the base. In response to the scarred landscape of the post-Cold War dereliction and the contested history of Greenham Common, we created costumes that embodied imaginative and provocative ideas around landscape and memory, the body and its environment and women’s relationship\u0000 to power. These costumes acted as critical intervention and commentary in a public space. This visual essay provides retrospective analysis of these costumes, their effect on the performers and their contribution to the dramaturgy of the site-responsive performance. Drawing on contemporary\u0000 references, it attempts to articulate the work’s contribution to the wider discussion around costume’s agency and costume as carrier of meaning in public spaces and as part of site-responsive performance practice.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"2013 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128015681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Relations between body and clothing in performance: Costume as an activator of bodily actions 表演中身体与服装的关系:服装作为身体动作的激活者

Studies in Costume & Performance Pub Date : 2021-12-01 DOI: 10.1386/scp_00045_1

Joana Imparato

{"title":"Relations between body and clothing in performance: Costume as an activator of bodily actions","authors":"Joana Imparato","doi":"10.1386/scp_00045_1","DOIUrl":"https://doi.org/10.1386/scp_00045_1","url":null,"abstract":"This article reflects upon the relationship between body and costume in the character ‘Woman from the Past’ in the production Life and Times of Carlos & Carlos directed by Emílio Di Biasi in 1987 in São Paulo, Brazil. Drawing on the account of the\u0000 performer Gaby Imparato about her scenic dress, I investigate the dynamics of body‐costume relationship based on Bodymedia Theory, which reassesses the concept of body concerning design processes and practices in the production of scenic costumes and in the costume design research literature.\u0000 The theory provides tools to discuss costumes and bodies intertwined in a co-defined relationship while onstage, inviting us to rethink predetermined resources in costume production. The performer’s account helps to verify how the costume designer’s intentions and stimuli offered\u0000 to the body onstage, predefined in the costume design, find other paths to developing scenic actions. This proposition allows me to discuss the relationship between body and costume onstage when understood as an articulator of perception and action. Thus, I can enunciate costume as an activator\u0000 of bodily actions in rehearsals and on the scene.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133454095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Spectral Characters: Genre and Materiality on the Modern Stage, Sarah Balkin (2019) 《光谱人物:现代舞台上的体裁与物质性》，莎拉·巴尔金(2019)

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00042_5

Marlis Schweitzer

引用次数: 1

La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles 礼服a La francaise和礼服l ' odalisque:穿着凡尔赛玫瑰的女性服装

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00034_1

Emerald L. King

引用次数: 1

Dream weaving: A conversation with Jennifer Irwin 梦的编织:与Jennifer Irwin的对话

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00036_1

Margot Anderson

引用次数: 2

Staging Fairyland: Folklore, Children’s Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker (2018) 《演绎仙境:民间传说、儿童娱乐和19世纪哑剧》，詹妮弗·沙克著(2018)

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00041_5

H. Davidson

引用次数: 1

Organic entities, costume, human body and neo-liberalism 有机实体、服装、人体与新自由主义

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00038_1

Tine Kolenik

引用次数: 1

Shadows of Forgotten Ancestors: In search of national representation in the image of folklore 被遗忘的祖先的阴影:在民间传说的形象中寻找民族代表性

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00035_1

Alexandra Ovtchinnikova

{"title":"Shadows of Forgotten Ancestors: In search of national representation in the image of folklore","authors":"Alexandra Ovtchinnikova","doi":"10.1386/scp_00035_1","DOIUrl":"https://doi.org/10.1386/scp_00035_1","url":null,"abstract":"In this case study analysis of the film Shadows of Forgotten Ancestors (1965) directed by Sergei Parajanov (1924‐90) I will explore the ways in which traditional dress in this film, as part of a wider imagery of folklore, has been defamiliarized from the ideological canon\u0000 of social realism. More specifically, I will look at the ways Parajanov’s film, filled with music, dance, colour and ethnographic texture, significantly departed from the traditional representation of non-Russians on the Soviet screen under the Friendship of Peoples policy. Based\u0000 on a folkloric legend, adapted and published in 1911 by Mykhailo Kotsiubynskyi (1864‐1913), Shadows celebrates the ethnographic texture of the Hutsul region by departing significantly from causality and narrative logic and bringing together primitive and modern elements instead.\u0000 Praised for its authenticity, the film became a turning point in the search for a new site of national expression for Ukrainian filmmakers and more specifically, the role of folklore in its visual presentation. The work of the costume designer Lidiya Bajkova (1905‐80) is emblematic\u0000 in the way it renders authenticity beyond historical, ethnic and material accuracy by seamlessly integrating the costumes into the visual texture of the cinematic image. Her approach demonstrates how motifs and patterns that have previously been delegated to domesticated and melodramatic narratives\u0000 could conversely become a fundamental substance of the cinematic experience.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116858618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Innovative Costume of the 21st Century: The Next Generation, Dmitry Rodionov, curated by A.A. Bakhrushin Museum 《21世纪的创新服装:下一代》，德米特里·罗迪奥诺夫，A.A.巴赫鲁申博物馆策展

Studies in Costume & Performance Pub Date : 2021-06-01 DOI: 10.1386/scp_00040_5

Julieta Lynch

引用次数: 1