This essay foregrounds visuals of masks and costumes from Chhau and Bhaona performances from South Asia. Using a new materialist lens along with writings on ritual images, it reflects on how these masks and costumes have agency. Referred to as Aharya in the Indian context, the masks and costumes of the case studies straddle a unique position between performative objects, religious objects and everyday decorative objects. This multiple positionality endows the masks and costumes an agency that displaces the traditional subject‐object binaries of actor and costume. Highlighting Aharya’s inherent affective and ritual properties and foregrounding the mask-makers’ use of local materials, centuries-old techniques and their skills and creativity to conceptualize masks that work alongside and beyond performances, the visual essay shows how these objects exceed the maker and the performer and reach wider audiences.
{"title":"Agentic Aharya: Vibrant masks from South Asia","authors":"Deepsikha Chatterjee","doi":"10.1386/scp_00051_3","DOIUrl":"https://doi.org/10.1386/scp_00051_3","url":null,"abstract":"This essay foregrounds visuals of masks and costumes from Chhau and Bhaona performances from South Asia. Using a new materialist lens along with writings on ritual images, it reflects on how these masks and costumes have agency. Referred to as Aharya in the Indian\u0000 context, the masks and costumes of the case studies straddle a unique position between performative objects, religious objects and everyday decorative objects. This multiple positionality endows the masks and costumes an agency that displaces the traditional subject‐object binaries\u0000 of actor and costume. Highlighting Aharya’s inherent affective and ritual properties and foregrounding the mask-makers’ use of local materials, centuries-old techniques and their skills and creativity to conceptualize masks that work alongside and beyond performances, the\u0000 visual essay shows how these objects exceed the maker and the performer and reach wider audiences.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"36 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":"117033734","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: Shoe Reels: The History and Philosophy of Footwear in Film, Elizabeth Ezra and Catherine Wheatley (Eds) (2020)Edinburgh: Edinburgh University Press, 320 pp.,ISBN 978-1-47445-140-6, h/bk, £85
评论》:Shoe译本史》(英语)一书。,and Philosophy Reels:,人伦的影片Footwear打印,伊丽莎白Ezra, and凯瑟琳2020 Wheatley (Eds)(,)爱丁堡:爱丁堡大学出版社,超越自我。320 ISBN 978-1-47445-140-6, h / bk工作,英镑85
{"title":"Shoe Reels: The History and Philosophy of Footwear in Film, Elizabeth Ezra and Catherine Wheatley (Eds) (2020)","authors":"Cheryl Roberts","doi":"10.1386/scp_00056_5","DOIUrl":"https://doi.org/10.1386/scp_00056_5","url":null,"abstract":"Review of: Shoe Reels: The History and Philosophy of Footwear in Film, Elizabeth Ezra and Catherine Wheatley (Eds) (2020)Edinburgh: Edinburgh University Press, 320 pp.,ISBN 978-1-47445-140-6, h/bk, £85","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"7 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":"124721495","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 argues for the value of conceptualizing the agency of costume in performance when it is not worn directly upon the body. I employ a new materialist framework to examine the spatial dynamics of the shifting corporeal‐material relations established when costume is set apart from an actor onstage and, unworn, asserts its agency as an independent force distinct from the performer. My investigation is supported by a close analysis of Bryony Lavery’s page-to-stage adaptation of Alice Sebold’s novel, The Lovely Bones (2002), directed by Melly Still and performed at the Royal & Derngate, Northampton in 2018. Drawing upon the observation of rehearsals and performances encountered as an embedded researcher, my discussion centres on the live practices of theatrical production. Employing Bennett’s new materialist thinking laid out in Vibrant Matter: A Political Ecology of Things (2010) and Bill Brown’s ‘Thing Theory’ (2001, 2015), my discussion of The Lovely Bones shows costume to be an active participant in a ‘distributive agency’ enacted between garment and performer, the contours of which are amplified when the two are set apart. The spatial disentanglement of the material and corporeal, evidenced in the performance of costume in The Lovely Bones, thus provides an opportunity to present a fuller understanding of the material agency of the stage.
{"title":"Spatializing material‐corporeal entanglements: A new materialist approach to the agential work of costume in the stage adaptation of The Lovely Bones (2018)","authors":"Kitty Gurnos-Davies","doi":"10.1386/scp_00046_1","DOIUrl":"https://doi.org/10.1386/scp_00046_1","url":null,"abstract":"This article argues for the value of conceptualizing the agency of costume in performance when it is not worn directly upon the body. I employ a new materialist framework to examine the spatial dynamics of the shifting corporeal‐material relations established when costume is\u0000 set apart from an actor onstage and, unworn, asserts its agency as an independent force distinct from the performer. My investigation is supported by a close analysis of Bryony Lavery’s page-to-stage adaptation of Alice Sebold’s novel, The Lovely Bones (2002), directed by\u0000 Melly Still and performed at the Royal & Derngate, Northampton in 2018. Drawing upon the observation of rehearsals and performances encountered as an embedded researcher, my discussion centres on the live practices of theatrical production. Employing Bennett’s new materialist thinking\u0000 laid out in Vibrant Matter: A Political Ecology of Things (2010) and Bill Brown’s ‘Thing Theory’ (2001, 2015), my discussion of The Lovely Bones shows costume to be an active participant in a ‘distributive agency’ enacted between garment and performer,\u0000 the contours of which are amplified when the two are set apart. The spatial disentanglement of the material and corporeal, evidenced in the performance of costume in The Lovely Bones, thus provides an opportunity to present a fuller understanding of the material agency of the stage.","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":"128842831","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 discusses the creation of a costume for the spectator that stimulates sensorial experiences of internalized feelings. Under the project title Sense my Thoughts, we constructed two wearable prototypes: one for the performer and the other one for the spectator. Wearable electronics embedded both in the performer’s and the spectator’s garments allow the spectator to become directly connected with the performer’s emotional experience through costume. This enables the spectators to identify with the onstage character through a personal connection and immerse themselves in the performance on a multi-sensorial level. The goal of our practice-as-research was to design wearables that measure and transmit the performer’s biometric data in a sensorial format, which the spectator would be able to feel on/in their own body in real time. We assembled one garment that captures performer’s input data, such as brainwaves, heartbeat and breathing, and interpret them as different emotional states. We then connected it wirelessly to another garment that we named the spectator’s costume, which receives the performer’s data and activates hidden vibrational motors, speakers, heaters and coolers as various combinations of physical stimuli. In this article, we focus on the latter garment and explain how the spectator’s costume can become an agent of the wearer’s empathic engagement through stimulating the suggestion of the performer’s embodied experiences. The work presented here is still in an early stage of development and, therefore, the conclusions are based on small-scale prototype research.
{"title":"Costume as a shared sensorial experience","authors":"Iztok Hrga, Tjaša Frumen","doi":"10.1386/scp_00048_1","DOIUrl":"https://doi.org/10.1386/scp_00048_1","url":null,"abstract":"This research report discusses the creation of a costume for the spectator that stimulates sensorial experiences of internalized feelings. Under the project title Sense my Thoughts, we constructed two wearable prototypes: one for the performer and the other one for the spectator.\u0000 Wearable electronics embedded both in the performer’s and the spectator’s garments allow the spectator to become directly connected with the performer’s emotional experience through costume. This enables the spectators to identify with the onstage character through a personal\u0000 connection and immerse themselves in the performance on a multi-sensorial level. The goal of our practice-as-research was to design wearables that measure and transmit the performer’s biometric data in a sensorial format, which the spectator would be able to feel on/in their own body\u0000 in real time. We assembled one garment that captures performer’s input data, such as brainwaves, heartbeat and breathing, and interpret them as different emotional states. We then connected it wirelessly to another garment that we named the spectator’s costume, which receives\u0000 the performer’s data and activates hidden vibrational motors, speakers, heaters and coolers as various combinations of physical stimuli. In this article, we focus on the latter garment and explain how the spectator’s costume can become an agent of the wearer’s empathic\u0000 engagement through stimulating the suggestion of the performer’s embodied experiences. The work presented here is still in an early stage of development and, therefore, the conclusions are based on small-scale prototype research.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"11 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":"127738668","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}
The creation of costumes for a Black body in performances that deal with Blackness always evokes the conflict in presenting complex facets of a socially stigmatized body, in face of a tool (costume) that usually works to categorize bodies onstage. In this article, I initially analyse how the Black body has been represented, for decades, on the stages of Brazilian theatre. I also try to understand how the theatre, in a structurally racist context, has become a place of resistance for the Brazilian Black Movement, as well as a political space to redefine what it means to be Black. Bringing in references from my own artistic research and practice as a costume designer in the performances Unrestricted Contact (Grupo Oito, 2017) and Black Memories on White Bones (Ricardo de Paula, 2019), I conduct this research that deals with the complexity of narrating Blackness through costumes that, together with the body, convey a process of deconstruction and decolonization within the performance.
在处理黑人身份的表演中，为黑人身体设计服装总是会引发一种冲突，即面对舞台上通常用来对身体进行分类的工具(服装)，呈现一个被社会污名化的身体的复杂方面。在这篇文章中，我首先分析了几十年来，在巴西剧院的舞台上，黑人是如何被表现出来的。我也试图理解，在结构性种族主义背景下，剧院如何成为巴西黑人运动的抵抗场所，以及重新定义黑人含义的政治空间。参考我自己作为服装设计师在表演《无限制接触》(Grupo Oito, 2017)和《白骨上的黑色记忆》(Ricardo de Paula, 2019)中的艺术研究和实践，我进行了这项研究，处理通过服装讲述黑人的复杂性，与身体一起，在表演中传达解构和非殖民化的过程。
{"title":"How to perform Blackness: Creating possibilities through costume design","authors":"Andreina Vieira dos Santos","doi":"10.1386/scp_00044_1","DOIUrl":"https://doi.org/10.1386/scp_00044_1","url":null,"abstract":"The creation of costumes for a Black body in performances that deal with Blackness always evokes the conflict in presenting complex facets of a socially stigmatized body, in face of a tool (costume) that usually works to categorize bodies onstage. In this article, I initially analyse\u0000 how the Black body has been represented, for decades, on the stages of Brazilian theatre. I also try to understand how the theatre, in a structurally racist context, has become a place of resistance for the Brazilian Black Movement, as well as a political space to redefine what it means to\u0000 be Black. Bringing in references from my own artistic research and practice as a costume designer in the performances Unrestricted Contact (Grupo Oito, 2017) and Black Memories on White Bones (Ricardo de Paula, 2019), I conduct this research that deals with the complexity of\u0000 narrating Blackness through costumes that, together with the body, convey a process of deconstruction and decolonization within the performance.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"9 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":"131618683","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 explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’ evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed flat-pack modular costumes, which can be constructed in different ways and organized workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances. Looking at New Materialism theories, my practice research can be considered as an assemblage of human and non-human elements, which together have a greater power and the ability to generate a performance.
{"title":"Insubordinate Costume","authors":"Susan Marshall","doi":"10.1386/scp_00052_3","DOIUrl":"https://doi.org/10.1386/scp_00052_3","url":null,"abstract":"In this visual essay, I explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’\u0000 evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed\u0000 flat-pack modular costumes, which can be constructed in different ways and organized workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the\u0000 playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances. Looking at New Materialism theories, my practice research\u0000 can be considered as an assemblage of human and non-human elements, which together have a greater power and the ability to generate a performance.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"71 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":"126268883","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}
Glamour: Famous Gowns of the Silver Screen, curated by Cornelia Bujin, Italo Nunziata and Hannu PalosuoSerlachius Museum Gustaf, Mänttä, 26 September 2020‐10 January 2021
{"title":"Glamour: Famous Gowns of the Silver Screen, curated by Cornelia Bujin, Italo Nunziata and Hannu Palosuo","authors":"Alexandra Ovtchinnikova, Maarit Kalmakurki","doi":"10.1386/scp_00054_5","DOIUrl":"https://doi.org/10.1386/scp_00054_5","url":null,"abstract":"Glamour: Famous Gowns of the Silver Screen, curated by Cornelia Bujin, Italo Nunziata and Hannu PalosuoSerlachius Museum Gustaf, Mänttä, 26 September 2020‐10 January 2021","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":"129386722","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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