Review of: Performance Costume: New Perspectives and Methods, Sofia Pantouvaki and Peter McNeil (eds) (2021)London: Bloomsbury Visual Arts, 398 pp.,ISBN 978-1-35009-879-4, pbk, €22.96 (£22.99/USD 30.95)
{"title":"Performance Costume: New Perspectives and Methods, Sofia Pantouvaki and Peter McNeil (eds) (2021)","authors":"E. Sisson","doi":"10.1386/scp_00065_5","DOIUrl":"https://doi.org/10.1386/scp_00065_5","url":null,"abstract":"Review of: Performance Costume: New Perspectives and Methods, Sofia Pantouvaki and Peter McNeil (eds) (2021)London: Bloomsbury Visual Arts, 398 pp.,ISBN 978-1-35009-879-4, pbk, €22.96 (£22.99/USD 30.95)","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123143430","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}
{"title":"The costumed body in motion: Embodied processes of design","authors":"S. Osmond, Veronica Isaac, Nadia Malik","doi":"10.1386/scp_00057_2","DOIUrl":"https://doi.org/10.1386/scp_00057_2","url":null,"abstract":"","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126495324","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}
With the aim of contributing to the scholarship on costume designers’ agential collaboration within contemporary dance, this article centres on the creative authorship of the designer. Using the notions of ‘signature style’ and ‘authorship’ as the key research lenses, it investigates the work of Finnish costume designer Erika Turunen within contemporary dance, specifically her collaboration with choreographer Tero Saarinen. Drawing from in-person interviews with the designer and materials related to her costumes, this article addresses the issues of re-invention versus repetition, and process and outcome as two interlinked steps in the creation of Turunen’s signature style.
{"title":"The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style","authors":"Tua Helve","doi":"10.1386/scp_00059_1","DOIUrl":"https://doi.org/10.1386/scp_00059_1","url":null,"abstract":"With the aim of contributing to the scholarship on costume designers’ agential collaboration within contemporary dance, this article centres on the creative authorship of the designer. Using the notions of ‘signature style’ and ‘authorship’ as the key research\u0000 lenses, it investigates the work of Finnish costume designer Erika Turunen within contemporary dance, specifically her collaboration with choreographer Tero Saarinen. Drawing from in-person interviews with the designer and materials related to her costumes, this article addresses the issues\u0000 of re-invention versus repetition, and process and outcome as two interlinked steps in the creation of Turunen’s signature style.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123679939","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 essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
{"title":"Folk costume as theatrical costume","authors":"I. Papantoniou, Sofia Pantouvaki","doi":"10.1386/scp_00060_1","DOIUrl":"https://doi.org/10.1386/scp_00060_1","url":null,"abstract":"This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek\u0000 Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined\u0000 with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates\u0000 local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the\u0000 latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous\u0000 annotations to make the talk accessible by an international audience.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129760742","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}
{"title":"Site, Dance and Body: Movement Materials and Corporeal Engagement, Victoria Hunter (2021)","authors":"L. Weir","doi":"10.1386/scp_00066_5","DOIUrl":"https://doi.org/10.1386/scp_00066_5","url":null,"abstract":"Review of: Site, Dance and Body: Movement Materials and Corporeal Engagement, Victoria Hunter (2021)London: Palgrave Macmillan, XII, 279 pp.,ISBN 978-3-03064-800-8, h/bk, GBP 89.99, e-book, GBP 71.50","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130030860","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}
{"title":"Cinemaddosso: The Costumes of Annamode from Cinecittà to Hollywood, curated by Elisabetta Bruscolini : Palazzo Piccolomini and the Conservatorio S. Carlo in Pienza, Museo Tepotratos in Monticchiello, Italy, 19 June‐15 November 2021","authors":"Sabrina Macchi, S. Marshall","doi":"10.1386/scp_00070_5","DOIUrl":"https://doi.org/10.1386/scp_00070_5","url":null,"abstract":"","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134155044","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 research report presents an emergent methodological framework for devising costume performance that offers best practice to the collaborating designer, choreographer and performer. Two distinct practical research case studies, costume performance project Elizabeth & The Three Sisters (2016) and costume research project SESSIONS #1‐4, are examined to answer the question: what is an effective working methodology for designing and devising costume performance that creates a synergy between costume/materials and the moving body, and consequently design and choreography? The case study research methods include practical experimentation and devising leading to performances, and experiential findings. Research outcomes are contextualized in relation to Tim Ingold’s theories of (active) materials, Jane Bennett’s concept of assemblages, collaborative devising processes used in dance making, embodiment and somatics and intentionality and authorship in collective making. This investigation is predominantly discussed from the perspective of the experienced and experiential costume performer ‐ choreographer: the ‘embodied subject’ who merges with the costume/materials bringing a unique analysis to the costume and performance research field that is significant to designers, performers, performance makers and scholars. The findings of this report offer practitioners a framework to develop an impactful working approach for the devising of costume performance, as well as other performance where costume is (or could be) an integral part of the work.
{"title":"Costumographic synergy: Devising the costume performance","authors":"Lorraine Smith","doi":"10.1386/scp_00062_1","DOIUrl":"https://doi.org/10.1386/scp_00062_1","url":null,"abstract":"This research report presents an emergent methodological framework for devising costume performance that offers best practice to the collaborating designer, choreographer and performer. Two distinct practical research case studies, costume performance project Elizabeth & The\u0000 Three Sisters (2016) and costume research project SESSIONS #1‐4, are examined to answer the question: what is an effective working methodology for designing and devising costume performance that creates a synergy between costume/materials and the moving body, and consequently\u0000 design and choreography? The case study research methods include practical experimentation and devising leading to performances, and experiential findings. Research outcomes are contextualized in relation to Tim Ingold’s theories of (active) materials, Jane Bennett’s concept of\u0000 assemblages, collaborative devising processes used in dance making, embodiment and somatics and intentionality and authorship in collective making. This investigation is predominantly discussed from the perspective of the experienced and experiential costume performer ‐ choreographer:\u0000 the ‘embodied subject’ who merges with the costume/materials bringing a unique analysis to the costume and performance research field that is significant to designers, performers, performance makers and scholars. The findings of this report offer practitioners a framework to develop\u0000 an impactful working approach for the devising of costume performance, as well as other performance where costume is (or could be) an integral part of the work.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131869394","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}
{"title":"En Scène! Dessins de Costumes de la Collection Edmond de Rothschild, curated by Mickaël Bouffard, Jérôme de la Gorce and Victoria Fernández Masaguer : Musée du Louvre, Paris, 28 October 2021‐31 January 2022","authors":"Petra Dotlačilová","doi":"10.1386/scp_00069_5","DOIUrl":"https://doi.org/10.1386/scp_00069_5","url":null,"abstract":"","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"166 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130748100","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}
In this visual essay, I discuss how clothing made for an expanded cinema performance entitled Film as Fabric took on significance. The live work shows analogue film as fabric and stitching as editing to highlight historical relationships between textile practice and experimental filmmaking. The work developed through iterations from 2013 to 2017 as a part of doctorate research carried out from 2012 to 2020. My position as an experimental filmmaker with a background in embroidery grounded the study. Annabel Nicolson’s seminal live expanded cinema performance Reel Time (1973), in which she punctured 16mm film with her unthreaded sewing machine, was also a point of departure. Feminist critique from both disciplines ‐ film and textile studies ‐ supported the possibility of repressed relationships between the fields. Feminist scholars have repeatedly problematized contextualization of experimental filmmaking as narrow and misplaced (Blaetz 2007; Hatfield 2006; Reynolds 2009, 2012; Rhodes 1979). Until now, connections with textile practice in experimental filmmaking have been largely overlooked, most likely because domestic crafts have a long association with women’s work (Barber 1994), are central to deep rooted Western stereotypes of femininity, and remain denigrated art forms (Parker 2010). The development of Film as Fabric led to the creation of hybrid tools, forms and gestures, such as optical sounds and moving images made from fabric and stitch patterns. These were measured on the body, cut with dressmaking scissors, stitched, spliced into loops and projected in former cotton mills. This process allowed sounds associated with textile production and my personal textile ancestry to re-surface in new ways. The live context demands attention is given to material practices, which typically take place out of sight in the home and the film cutting room and have also recently undergone significant shifts in cultural status.
{"title":"Film as Fabric: A visual essay signalling the importance of clothing in expanded cinema performance","authors":"M. Stark","doi":"10.1386/scp_00064_3","DOIUrl":"https://doi.org/10.1386/scp_00064_3","url":null,"abstract":"In this visual essay, I discuss how clothing made for an expanded cinema performance entitled Film as Fabric took on significance. The live work shows analogue film as fabric and stitching as editing to highlight historical relationships between textile practice and experimental\u0000 filmmaking. The work developed through iterations from 2013 to 2017 as a part of doctorate research carried out from 2012 to 2020. My position as an experimental filmmaker with a background in embroidery grounded the study. Annabel Nicolson’s seminal live expanded cinema performance\u0000 Reel Time (1973), in which she punctured 16mm film with her unthreaded sewing machine, was also a point of departure. Feminist critique from both disciplines ‐ film and textile studies ‐ supported the possibility of repressed relationships between the fields. Feminist\u0000 scholars have repeatedly problematized contextualization of experimental filmmaking as narrow and misplaced (Blaetz 2007; Hatfield 2006; Reynolds 2009, 2012; Rhodes 1979). Until now, connections with textile practice in experimental filmmaking have been largely overlooked, most likely because\u0000 domestic crafts have a long association with women’s work (Barber 1994), are central to deep rooted Western stereotypes of femininity, and remain denigrated art forms (Parker 2010). The development of Film as Fabric led to the creation of hybrid tools, forms and gestures, such\u0000 as optical sounds and moving images made from fabric and stitch patterns. These were measured on the body, cut with dressmaking scissors, stitched, spliced into loops and projected in former cotton mills. This process allowed sounds associated with textile production and my personal textile\u0000 ancestry to re-surface in new ways. The live context demands attention is given to material practices, which typically take place out of sight in the home and the film cutting room and have also recently undergone significant shifts in cultural status.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128585132","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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