Costume plays an important part both in traditional fairy tales and in their adaptations in diverse media forms. Clothes worn by characters in fairy tales function according to the internal narrative logic that constitutes and organizes the story-world, defining and transforming the wearers’ identities and social contexts. In this sense, fairy-tale clothes can be regarded as costume, defined as the kind of clothes that bears significance within a staged, performed moment for an audience. The ubiquitous persistence of fairy tales in various media intended for both children and adults renders them a means to express social, cultural and psychological anxieties evoking ethical dimensions of individual and collective struggles. As such, the way characters are embodied through their clothes bears significant narrative and performative potential in layering of meanings in performance making. While the relationship between fashion and the fairy tale has been examined in the fields of fashion studies and fairy-tale criticism, the concept of costume in the fairy tale has not yet been sufficiently explored. This Special Issue on ‘Costume and Fairy Tales’, with its interdisciplinary and cross-cultural approach, offers fresh insight into the fields of costume studies, fairy-tale studies, performance studies, and, more broadly, studies of art, narrative and culture across time, space and discipline.
{"title":"‘Costume and Fairy Tales’","authors":"Mayako Murai","doi":"10.1386/scp_00072_2","DOIUrl":"https://doi.org/10.1386/scp_00072_2","url":null,"abstract":"Costume plays an important part both in traditional fairy tales and in their adaptations in diverse media forms. Clothes worn by characters in fairy tales function according to the internal narrative logic that constitutes and organizes the story-world, defining and transforming the wearers’ identities and social contexts. In this sense, fairy-tale clothes can be regarded as costume, defined as the kind of clothes that bears significance within a staged, performed moment for an audience. The ubiquitous persistence of fairy tales in various media intended for both children and adults renders them a means to express social, cultural and psychological anxieties evoking ethical dimensions of individual and collective struggles. As such, the way characters are embodied through their clothes bears significant narrative and performative potential in layering of meanings in performance making. While the relationship between fashion and the fairy tale has been examined in the fields of fashion studies and fairy-tale criticism, the concept of costume in the fairy tale has not yet been sufficiently explored. This Special Issue on ‘Costume and Fairy Tales’, with its interdisciplinary and cross-cultural approach, offers fresh insight into the fields of costume studies, fairy-tale studies, performance studies, and, more broadly, studies of art, narrative and culture across time, space and discipline.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122508362","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}
Review of: Scenography and Art History: Performance Design and Visual Culture, Astrid Von Rosen and Viveka Kjellmer (eds) (2021) London: Bloomsbury Visual Arts, 256 pp., ISBN 978-1-35020-444-7, h/bk, £85.00
回顾:舞台设计和艺术史:表演设计和视觉文化，Astrid Von Rosen和Viveka Kjellmer(编辑)(2021)伦敦:布鲁姆斯伯里视觉艺术，256页，ISBN 978-1-35020-444-7, h/bk，£85.00
{"title":"Scenography and Art History: Performance Design and Visual Culture, Astrid Von Rosen and Viveka Kjellmer (eds) (2021)","authors":"Natalie Rewa","doi":"10.1386/scp_00080_5","DOIUrl":"https://doi.org/10.1386/scp_00080_5","url":null,"abstract":"Review of: Scenography and Art History: Performance Design and Visual Culture, Astrid Von Rosen and Viveka Kjellmer (eds) (2021)\u0000 London: Bloomsbury Visual Arts, 256 pp.,\u0000 ISBN 978-1-35020-444-7, h/bk, £85.00","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134018489","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}
Alice through the Looking Glass () the sequel to Alice in Wonderland () reconfigures Carroll’s tyrannical dictator the Queen of Hearts/Red Queen. The film offers insights into her formative years in the style of Maleficent () and Cruella (), explaining the circumstances that have shaped this formidable diva. Fictional character transformations are often signposted through style and this study addresses the role that costume design plays in the reimagining of this monarch. Clothing and adornment frequently highlight plot and character transitions in fairy-tale narratives and the significance of Colleen Atwood’s ‘organic armour’ garment in fabricating a more nuanced shading for Carroll’s gaudy caricature will be examined. The Red Queen’s affinity with abrasive textures in Carroll’s description of her as ‘thorny’ is a catalyst for fusions and juxtapositions of both smooth and textured materials in this dress, amplifying the interplay between organic and inorganic surfaces in this film. Alice through the Looking Glass and Atwood’s design specifically, not only serves as a conduit for the Red Queen’s transitioning identity, but also provides a platform to appraise ideologies inherent in material surfaces within fairy-tale narratives.
{"title":"One of the thorny kind: The Red Queen’s organic armour in Alice through the Looking Glass (2016)","authors":"Cath Davies","doi":"10.1386/scp_00075_1","DOIUrl":"https://doi.org/10.1386/scp_00075_1","url":null,"abstract":"\u0000 Alice through the Looking Glass () the sequel to Alice in Wonderland () reconfigures Carroll’s tyrannical dictator the Queen of Hearts/Red Queen. The film offers insights into her formative years in the style of Maleficent () and Cruella (), explaining the circumstances that have shaped this formidable diva. Fictional character transformations are often signposted through style and this study addresses the role that costume design plays in the reimagining of this monarch. Clothing and adornment frequently highlight plot and character transitions in fairy-tale narratives and the significance of Colleen Atwood’s ‘organic armour’ garment in fabricating a more nuanced shading for Carroll’s gaudy caricature will be examined. The Red Queen’s affinity with abrasive textures in Carroll’s description of her as ‘thorny’ is a catalyst for fusions and juxtapositions of both smooth and textured materials in this dress, amplifying the interplay between organic and inorganic surfaces in this film. Alice through the Looking Glass and Atwood’s design specifically, not only serves as a conduit for the Red Queen’s transitioning identity, but also provides a platform to appraise ideologies inherent in material surfaces within fairy-tale narratives.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131398628","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}
Review of: The Routledge Pantomime Reader, 1800–1900, Jennifer Schacker and Daniel O’Quinn (eds) (2022) Abingdon and New York: Routledge, 456 pp., ISBN 978-0-36744-437-2, h/bk, £152
{"title":"The Routledge Pantomime Reader, 1800–1900, Jennifer Schacker and Daniel O’Quinn (eds) (2022)","authors":"Simon Sladen","doi":"10.1386/scp_00079_5","DOIUrl":"https://doi.org/10.1386/scp_00079_5","url":null,"abstract":"Review of: The Routledge Pantomime Reader, 1800–1900, Jennifer Schacker and Daniel O’Quinn (eds) (2022)\u0000 Abingdon and New York: Routledge, 456 pp.,\u0000 ISBN 978-0-36744-437-2, h/bk, £152","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129893248","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}
This article presents a close reading of two costume designs from Takahashi Rumiko’s Inuyasha series (manga 1996–2008), and details the methods used to create a pair of cosplay costumes. It will explore how character designs are imbued with identity and narrative foreshadowing. Throughout this article, reference will be made to fan scholarship in addition to more academic sources. As Matt Hills points out with his model of the ‘scholar-fan’, fans are often conducting research and work that academics have yet to address, and this is often the case with anime fandom. Further, my work on cosplay treats fan-constructed costumes as an act of fan translation akin to other activities such as ‘scanlations’, that is scanned translations of manga, comics or graphic novels.
{"title":"Red capes, dog gods and demon lords: Making historically plausible Inuyasha cosplay costumes","authors":"Emerald L. King","doi":"10.1386/scp_00076_1","DOIUrl":"https://doi.org/10.1386/scp_00076_1","url":null,"abstract":"This article presents a close reading of two costume designs from Takahashi Rumiko’s Inuyasha series (manga 1996–2008), and details the methods used to create a pair of cosplay costumes. It will explore how character designs are imbued with identity and narrative foreshadowing. Throughout this article, reference will be made to fan scholarship in addition to more academic sources. As Matt Hills points out with his model of the ‘scholar-fan’, fans are often conducting research and work that academics have yet to address, and this is often the case with anime fandom. Further, my work on cosplay treats fan-constructed costumes as an act of fan translation akin to other activities such as ‘scanlations’, that is scanned translations of manga, comics or graphic novels.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116331160","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}
This article interprets the skin of an ageing ballerina as costume in the contemporary ballet world in which ageism is predominant. By analysing relatively recent performances and commentaries, in addition to discourses surrounding Yoko Morishita, the 74-year-old prima ballerina with The Matsuyama Ballet, the article discusses the ways in which this woman’s virtuosity sheds new light on the subjectivity of an older dancer on the stage. Drawing on Masuko Honda’s work on girlhood, and also on critical literature from fairy-tale studies, dance studies and queer studies, the article argues that Morishita embodies her naturally aged skin not to further demarcate but in fact to confound the established boundaries between younger and older women in the ballet world. The interpretation that follows of Morishita’s artistry in classical ballet confirms that we must consider the meaning of skin and its relationship to garments when conducting any intersectional analysis of fairy tales and ballet performances. This article thus also is a response to recent calls for artworks and interpretations to voice more diverse forms of subjectivity for old women in the narrative arc of fairy tales. When other older ballerinas begin, like Morishita, to dance princess protagonist roles as a matter of course on the stages of professional ballet companies, the stories to be told about womanhood and femininity will no longer remain simply in the purview of normative gender constructions and associated age discourses.
{"title":"The hirahira aesthetics of wrinkled skin: Notes on an ageing dancer in the contemporary ballet world","authors":"K. Suganuma","doi":"10.1386/scp_00073_1","DOIUrl":"https://doi.org/10.1386/scp_00073_1","url":null,"abstract":"This article interprets the skin of an ageing ballerina as costume in the contemporary ballet world in which ageism is predominant. By analysing relatively recent performances and commentaries, in addition to discourses surrounding Yoko Morishita, the 74-year-old prima ballerina with The Matsuyama Ballet, the article discusses the ways in which this woman’s virtuosity sheds new light on the subjectivity of an older dancer on the stage. Drawing on Masuko Honda’s work on girlhood, and also on critical literature from fairy-tale studies, dance studies and queer studies, the article argues that Morishita embodies her naturally aged skin not to further demarcate but in fact to confound the established boundaries between younger and older women in the ballet world. The interpretation that follows of Morishita’s artistry in classical ballet confirms that we must consider the meaning of skin and its relationship to garments when conducting any intersectional analysis of fairy tales and ballet performances. This article thus also is a response to recent calls for artworks and interpretations to voice more diverse forms of subjectivity for old women in the narrative arc of fairy tales. When other older ballerinas begin, like Morishita, to dance princess protagonist roles as a matter of course on the stages of professional ballet companies, the stories to be told about womanhood and femininity will no longer remain simply in the purview of normative gender constructions and associated age discourses.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131807620","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}
Kate Bernheimer, Samantha Sweeting, Catriona McAra
‘Nightgown parties’ is an experimental visual essay featuring a new fairy tale and previously unpublished images, a three-way collaborative ‘party’ between an artist, writer and curator. The curator, Catriona McAra, begins with a compact, comparative preface for the imaginative practices of the artist and writer which intersect at the lost moment of fairy-tale costume. Writer Kate Bernheimer has prepared a new story, ‘The Crown of Stars’ about a found photograph from artist Samantha Sweeting’s childhood, Golden Crown, in which the 4-year-old artist wears fancy dress and appears to be dancing with abandon. McAra argues that, for both, the fairy-tale costume functions as primary matter, with close reference to well-known tales that feature articles of clothing such as Charles Perrault’s ‘Peau d’Âne’ (‘Donkeyskin’), ‘Cinderella’, and ‘Little Red Riding Hood’. McAra’s context for this new tale and image brings together fairy-tale scholarship and costume studies.
“睡衣派对”是一个实验性的视觉散文，以一个新的童话故事和以前未发表的图像为特色，是艺术家、作家和策展人三方合作的“派对”。策展人卡特里奥娜·麦卡拉(Catriona McAra)以一个紧凑的、比较的序言开始，介绍了艺术家和作家的想象力实践，这些实践在童话服装的失落时刻相交。作家凯特·伯恩海默(Kate Bernheimer)准备了一个新故事《星星的王冠》(The Crown of Stars)，讲述的是艺术家萨曼莎·斯威廷(Samantha Sweeting)的童年照片《金色王冠》(Golden Crown)。在照片中，这位4岁的艺术家穿着奇装奇服，似乎在尽情地跳舞。麦卡拉认为，对于两者来说，童话服装都是最重要的，并密切参考了著名的故事，比如查尔斯·佩罗(Charles Perrault)的《驴皮》(Peau d ' Âne)、《灰姑娘》和《小红帽》。麦卡拉的背景，这个新的故事和图像汇集了童话学术和服装研究。
{"title":"Nightgown parties","authors":"Kate Bernheimer, Samantha Sweeting, Catriona McAra","doi":"10.1386/scp_00078_3","DOIUrl":"https://doi.org/10.1386/scp_00078_3","url":null,"abstract":"‘Nightgown parties’ is an experimental visual essay featuring a new fairy tale and previously unpublished images, a three-way collaborative ‘party’ between an artist, writer and curator. The curator, Catriona McAra, begins with a compact, comparative preface for the imaginative practices of the artist and writer which intersect at the lost moment of fairy-tale costume. Writer Kate Bernheimer has prepared a new story, ‘The Crown of Stars’ about a found photograph from artist Samantha Sweeting’s childhood, Golden Crown, in which the 4-year-old artist wears fancy dress and appears to be dancing with abandon. McAra argues that, for both, the fairy-tale costume functions as primary matter, with close reference to well-known tales that feature articles of clothing such as Charles Perrault’s ‘Peau d’Âne’ (‘Donkeyskin’), ‘Cinderella’, and ‘Little Red Riding Hood’. McAra’s context for this new tale and image brings together fairy-tale scholarship and costume studies.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122891851","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}
Review of: The Poetry of Simplicity: Fashion and Design According to Monica Bolzoni/Bianca e Blu, Monica Bolzoni, Curated by Anna Di Cesare La Galleria Nazionale, Rome, 14 December 2021–21 March 2022
回顾:《简洁之诗:Monica Bolzoni/Bianca e Blu, Monica Bolzoni的时尚与设计》，Anna Di Cesare策展，罗马国家美术馆，2021年12月14日- 2022年3月21日
{"title":"The Poetry of Simplicity: Fashion and Design According to Monica Bolzoni/Bianca e Blu, Monica Bolzoni, Curated by Anna Di Cesare","authors":"Silvia Vacirca","doi":"10.1386/scp_00081_5","DOIUrl":"https://doi.org/10.1386/scp_00081_5","url":null,"abstract":"Review of: The Poetry of Simplicity: Fashion and Design According to Monica Bolzoni/Bianca e Blu, Monica Bolzoni, Curated by Anna Di Cesare\u0000 La Galleria Nazionale, Rome, 14 December 2021–21 March 2022","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"101 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120872652","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}
If consciously wearing perfume is part of an identity construction process, then could a specifically designed olfactory costume affect the interactions of those wearing it with their environment or perhaps encourage performative behaviour? If so, could narrative components or patterns emerge from this olfactory experience? Perfume might often be described or advertised as enchanting, eerie, charming or alluring among others, scents however are rarely mentioned in fairy and folk tales, the realm of enchantment par excellence. In an effort to activate the human body and the surrounding air with a potential for narrative and explore the possibility of a relationship between scent, storytelling and performativity, I developed [___], an olfactory art piece that wafted through Athens, Greece over a period of four months (September–December 2021). [___] is a scent, given to twenty participants to wear, monitor and optionally document their reactions and those of their environment spontaneously. Following the experiment, discussions with the participants revealed compelling experiences and stories, performative behaviours, fictional accounts, characters and situations at the intersection of the mundane, the creative and the magical. [___], is a redolent experiment that explores potential relationships between bodies, smell, agency, costume, performance and (re)enchantment within the contemporary urban setting.
{"title":"The invisible cloak: An olfactory experiment and tales of (re)enchantment","authors":"Elektra Stampoulou","doi":"10.1386/scp_00077_1","DOIUrl":"https://doi.org/10.1386/scp_00077_1","url":null,"abstract":"If consciously wearing perfume is part of an identity construction process, then could a specifically designed olfactory costume affect the interactions of those wearing it with their environment or perhaps encourage performative behaviour? If so, could narrative components or patterns emerge from this olfactory experience? Perfume might often be described or advertised as enchanting, eerie, charming or alluring among others, scents however are rarely mentioned in fairy and folk tales, the realm of enchantment par excellence. In an effort to activate the human body and the surrounding air with a potential for narrative and explore the possibility of a relationship between scent, storytelling and performativity, I developed [___], an olfactory art piece that wafted through Athens, Greece over a period of four months (September–December 2021). [___] is a scent, given to twenty participants to wear, monitor and optionally document their reactions and those of their environment spontaneously. Following the experiment, discussions with the participants revealed compelling experiences and stories, performative behaviours, fictional accounts, characters and situations at the intersection of the mundane, the creative and the magical. [___], is a redolent experiment that explores potential relationships between bodies, smell, agency, costume, performance and (re)enchantment within the contemporary urban setting.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128291450","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}
Costume and its contribution to a stage production is still a less frequently researched field in theatre studies. Yet it plays an important role in the performance of a role in both theatre and stage dance. Using the fairy-tale character of Puss in Boots in the ballet Die goldene Märchenwelt (first performed in Vienna, 1893), which is very well-known not only in the German-speaking world, the extent to which the recognizability of the character is supported by the costume is examined in this article. Costume designer Franz Gaul (1837–1906) was inspired not only by the various fairy-tale versions, but also by a large number of illustrations and stage adaptations. The source for the costume analysis here is a series of photographs of the dancer Wilhelmine Rathner (1863–1913) playing Puss in Boots archived at the Theatermuseum in Vienna. Through this medium a second level of investigation arises, namely that of the photographic (self-)staging of the desirable woman through costume and pose in a complicated interplay of textures and distances. This staging gains another – potentially eroticizing – level through the conception of the role of Puss in Boots as a breeches role.
{"title":"Puss in Boots, ballerina in breeches","authors":"Karin Langer","doi":"10.1386/scp_00074_1","DOIUrl":"https://doi.org/10.1386/scp_00074_1","url":null,"abstract":"Costume and its contribution to a stage production is still a less frequently researched field in theatre studies. Yet it plays an important role in the performance of a role in both theatre and stage dance. Using the fairy-tale character of Puss in Boots in the ballet Die goldene Märchenwelt (first performed in Vienna, 1893), which is very well-known not only in the German-speaking world, the extent to which the recognizability of the character is supported by the costume is examined in this article. Costume designer Franz Gaul (1837–1906) was inspired not only by the various fairy-tale versions, but also by a large number of illustrations and stage adaptations. The source for the costume analysis here is a series of photographs of the dancer Wilhelmine Rathner (1863–1913) playing Puss in Boots archived at the Theatermuseum in Vienna. Through this medium a second level of investigation arises, namely that of the photographic (self-)staging of the desirable woman through costume and pose in a complicated interplay of textures and distances. This staging gains another – potentially eroticizing – level through the conception of the role of Puss in Boots as a breeches role.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129098619","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}
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