Romaison 2020 Rome, an Extraordinary Maison: The Archives and Creations of Its Costume Studios, curated by Clara Tosi PamphiliMuseo dell’Ara Pacis, Roma, 23 October‐29 November 2020
{"title":"Romaison 2020 Rome, an Extraordinary Maison: The Archives and Creations of Its Costume Studios, curated by Clara Tosi Pamphili","authors":"Grazia Colombini","doi":"10.1386/scp_00039_5","DOIUrl":"https://doi.org/10.1386/scp_00039_5","url":null,"abstract":"Romaison 2020 Rome, an Extraordinary Maison: The Archives and Creations of Its Costume Studios, curated by Clara Tosi PamphiliMuseo dell’Ara Pacis, Roma, 23 October‐29 November 2020","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"2 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":"125562114","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}
Examining the surviving costumes of the 1913 production of The Rite of Spring, this article explores how costumes functioned in the Russian ‘new ballet’ choreography, of which the Ballets Russes Company is the most internationally famous example. The materiality of costumes ‐ the fabric, cut and dye ‐ organized the dancing bodies onstage in a manner that, in part, relied on Russian contexts invisible to the predominantly foreign audiences of the performances in Paris and London. Subsequently, these Russian reactions where The Rite of Spring was part of a continuum of representations of Russia’s past have been largely ignored in favour of the opinions of French and British critics, for whom the work appeared extraordinary and alien. The so-called reconstruction (1987), where the surviving costumes were used to compensate for the absence of choreographic understanding, has further obscured what the choreography was and what costumes actually did (and do) in performance. Although decisions made in recreating performance differ from historiographical research, exploring the practical making of costumes also draws attention to perspectives often forgotten in discussions of past performance more generally ‐ such as changes in how costumes are experienced, or what that experience explains of later reminiscences.
{"title":"From historical materiality to performance: Choreographic functions of the costumes in The Rite of Spring (1913)","authors":"Hanna Järvinen","doi":"10.1386/scp_00033_1","DOIUrl":"https://doi.org/10.1386/scp_00033_1","url":null,"abstract":"Examining the surviving costumes of the 1913 production of The Rite of Spring, this article explores how costumes functioned in the Russian ‘new ballet’ choreography, of which the Ballets Russes Company is the most internationally famous example. The materiality of\u0000 costumes ‐ the fabric, cut and dye ‐ organized the dancing bodies onstage in a manner that, in part, relied on Russian contexts invisible to the predominantly foreign audiences of the performances in Paris and London. Subsequently, these Russian reactions where The Rite of\u0000 Spring was part of a continuum of representations of Russia’s past have been largely ignored in favour of the opinions of French and British critics, for whom the work appeared extraordinary and alien. The so-called reconstruction (1987), where the surviving costumes were used to\u0000 compensate for the absence of choreographic understanding, has further obscured what the choreography was and what costumes actually did (and do) in performance. Although decisions made in recreating performance differ from historiographical research, exploring the practical making of costumes\u0000 also draws attention to perspectives often forgotten in discussions of past performance more generally ‐ such as changes in how costumes are experienced, or what that experience explains of later reminiscences.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"33 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":"114477584","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 is focused on an emergent methodology developed to support a transformational actor‐researcher engaged in heuristic inquiry. Rooted in Stanislavskian practices, transformational acting outlines a character building technique that is, at its core, a physical process. By including costume as an integral component of this physical character-building process, the actor is equipped with a material tool with which they may alter their means of perception. A combined reading of modern cognitive theory and feminist theory asserts that such perceptual alterations as costume affords may then result in a fundamental shift in the performer’s identity, facilitating a lived experience of the character’s identity. Considering costume within a Stanislavskian context introduces a material set of given circumstances; an embodied experience of another’s possibilities or impossibilities of movement. While these perceptual changes stimulate transformation, an actor‐researcher may also find themselves in active collaboration with a ‘character’ outside of themselves, potentially lending new-found insight within a research setting. Starting from a materialist approach to character, I chose to use Shakespeare’s character Richard III as a case study to test my hypothesis. What I soon began to realize was that this unidentified ‘materiality’ that I had been drawn to could not be distinguished from Richard’s ‘disability’. I began to ask, what are the ethical implications of an actor donning various external costume-based tools in embodying a disabled character? How does such an approach help us move away from the medical model of disability to the social, and perhaps even towards the affirmative and to resituate disability as a lived experience rather than metaphor? This research report details an emergent methodology confronted with the ethical implications of costume’s impact on the portrayal and understanding of disability in theatre today.
{"title":"Naked villainy: Encounters with an archetype of disfigurement","authors":"Ben LaMontagne-Schenck","doi":"10.1386/scp_00037_1","DOIUrl":"https://doi.org/10.1386/scp_00037_1","url":null,"abstract":"This research report is focused on an emergent methodology developed to support a transformational actor‐researcher engaged in heuristic inquiry. Rooted in Stanislavskian practices, transformational acting outlines a character building technique that is, at its core, a physical\u0000 process. By including costume as an integral component of this physical character-building process, the actor is equipped with a material tool with which they may alter their means of perception. A combined reading of modern cognitive theory and feminist theory asserts that such perceptual\u0000 alterations as costume affords may then result in a fundamental shift in the performer’s identity, facilitating a lived experience of the character’s identity. Considering costume within a Stanislavskian context introduces a material set of given circumstances; an embodied experience\u0000 of another’s possibilities or impossibilities of movement. While these perceptual changes stimulate transformation, an actor‐researcher may also find themselves in active collaboration with a ‘character’ outside of themselves, potentially lending new-found insight\u0000 within a research setting. Starting from a materialist approach to character, I chose to use Shakespeare’s character Richard III as a case study to test my hypothesis. What I soon began to realize was that this unidentified ‘materiality’ that I had been drawn to could not\u0000 be distinguished from Richard’s ‘disability’. I began to ask, what are the ethical implications of an actor donning various external costume-based tools in embodying a disabled character? How does such an approach help us move away from the medical model of disability to\u0000 the social, and perhaps even towards the affirmative and to resituate disability as a lived experience rather than metaphor? This research report details an emergent methodology confronted with the ethical implications of costume’s impact on the portrayal and understanding of disability\u0000 in theatre today.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"53 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":"115175391","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}
Fraying Parachutes explores from a choreographer/facilitator’s perspective the agency found in the costume making processes during Femme de Feu’s Circus Sessions 2019, in which three abandoned parachutes were upcycled and transformed into circus costumes. It traces the journey from conceptualization to ad hoc design, involving de-construction and much physical entanglement, to the eventual wear and non-wearability of the costumes in performance. Bringing together fourteen artists from South America, North America and Europe, the embodied research that informed this work took as its foci: positive receptivity, hospitality and fascination as qualities and modes of creating collectively. The experimental circus costume making processes provided an opportunity to physically expand upon theories of agential realism and entanglement, in relation to the material and the social. The re-purposed parachutes served as constant reminders of flight, suspension, risk and rescue, qualities that are innately present in circus technique and performance. In ‘rescuing’ the parachutes from landfill, the work also gave visibility to an ecological ethic in performance making, or what Tanja Beer refers to as a practice of ecoscenography, where issues of waste and sustainability may be addressed. Underscoring this essay will be the notion of convivencia or a literal ‘living with’ other and the non-human as essential to process and performance. Distinct to a co-labouring of ideas, in Circus Sessions, convivencia encompassed our creative entanglements, the friction and flow in artistic decision making, our discussions, reflections and laughter. It would also attune our listening to epistemologies of the South, to the diverse cultural perspectives and sensibilities that the different performers from three continents brought to the project. In this visual essay, costume agency is understood as a tensile potentiality that generates creative energy informed by the serendipitous opportunities found in the sensory binding of costume making processes.
在Femme de Feu的2019年马戏团会议期间，该机构从编舞/协调员的角度探索了服装制作过程，其中三个废弃的降落伞被升级回收并改造成马戏团服装。它追溯了从概念化到临时设计的过程，包括解构和许多物理纠缠，以及最终在表演中服装的穿着和不可穿着性。汇集了来自南美、北美和欧洲的14位艺术家，具体的研究为这项工作提供了信息，作为其焦点:积极的接受性、热情好客和魅力作为集体创作的品质和模式。实验马戏服装制作过程提供了一个机会，在物理上扩展代理现实主义和纠缠理论，与物质和社会有关。重新使用的降落伞不断提醒人们飞行、悬浮、冒险和救援，这些都是马戏团技术和表演中固有的品质。在从垃圾填埋场“拯救”降落伞的过程中，这项工作也让人们看到了表演制作中的生态伦理，或者像Tanja Beer所说的那样，是一种生态景观的实践，在这种实践中，废物和可持续发展的问题可能会得到解决。强调这篇文章将是便利的概念或字面上的“与他人和非人类生活在一起”，这对过程和表现至关重要。在《马戏会议》中，不同于想法的合作，“便利”包含了我们的创作纠结、艺术决策中的摩擦和流动、我们的讨论、反思和笑声。它还将使我们倾听南方的认识论，以及来自三大洲的不同表演者为这个项目带来的不同文化视角和情感。在这篇视觉文章中，服装代理被理解为一种张力潜力，它产生了创造性的能量，这种能量是在服装制作过程中发现的偶然机会。
{"title":"Fraying Parachutes: Costume agency and convivencia in contemporary circus performance making","authors":"M. Man","doi":"10.1386/scp_00050_3","DOIUrl":"https://doi.org/10.1386/scp_00050_3","url":null,"abstract":"Fraying Parachutes explores from a choreographer/facilitator’s perspective the agency found in the costume making processes during Femme de Feu’s Circus Sessions 2019, in which three abandoned parachutes were upcycled and transformed into circus costumes. It traces\u0000 the journey from conceptualization to ad hoc design, involving de-construction and much physical entanglement, to the eventual wear and non-wearability of the costumes in performance. Bringing together fourteen artists from South America, North America and Europe, the embodied research that\u0000 informed this work took as its foci: positive receptivity, hospitality and fascination as qualities and modes of creating collectively. The experimental circus costume making processes provided an opportunity to physically expand upon theories of agential realism and entanglement, in relation\u0000 to the material and the social. The re-purposed parachutes served as constant reminders of flight, suspension, risk and rescue, qualities that are innately present in circus technique and performance. In ‘rescuing’ the parachutes from landfill, the work also gave visibility to\u0000 an ecological ethic in performance making, or what Tanja Beer refers to as a practice of ecoscenography, where issues of waste and sustainability may be addressed. Underscoring this essay will be the notion of convivencia or a literal ‘living with’ other and the non-human\u0000 as essential to process and performance. Distinct to a co-labouring of ideas, in Circus Sessions, convivencia encompassed our creative entanglements, the friction and flow in artistic decision making, our discussions, reflections and laughter. It would also attune our listening to epistemologies\u0000 of the South, to the diverse cultural perspectives and sensibilities that the different performers from three continents brought to the project. In this visual essay, costume agency is understood as a tensile potentiality that generates creative energy informed by the serendipitous opportunities\u0000 found in the sensory binding of costume making processes.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130989923","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":"Costume and ethics: Reflections on past, present and future entanglements","authors":"Donatella Barbieri, Sofia Pantouvaki","doi":"10.1386/scp_00010_2","DOIUrl":"https://doi.org/10.1386/scp_00010_2","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115825671","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: Digital Design for Custom Textiles: Patterns as Narration for Stage and Film, Amber Marisa Cook (2018) New York and London: Routledge, 146 pp., ISBN 978-1-13808-417-9, p/bk, £29.99
{"title":"Digital Design for Custom Textiles: Patterns as Narration for Stage and Film, Amber Marisa Cook (2018)","authors":"Zi Young Kang","doi":"10.1386/scp_00021_5","DOIUrl":"https://doi.org/10.1386/scp_00021_5","url":null,"abstract":"Review of: Digital Design for Custom Textiles: Patterns as Narration for Stage and Film, Amber Marisa Cook (2018)\u0000New York and London: Routledge, 146 pp.,\u0000ISBN 978-1-13808-417-9, p/bk, £29.99","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124839253","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 considers how by shifting culturally anchored design materials from one context to simplistic placement in decontextualized settings, cultural appropriation takes place in costume design. Building on that, it discusses how production teams need to be cognizant of such issues in the design process given that availability of such materials has historically been possible because acquisition has often aligned with political and commercial ambitions. Reviewing scholarship on appropriation that includes performance, costume, fashion and cultural studies, it questions how designing costumes through intercultural interaction might be navigated in a globalized context, where artists are excluded through travel bans, but cultural materials are permitted free movement. The article then discusses how to create productive intercultural projects with teams willing to invest in ethical engagement. By including case studies in which such processes were less successful as well as one that indeed created new intercultural exchanges, this article is one of the first texts to address this complex issue. It intends to engender future forward thinking conversations with practitioners and researchers on the thorny but urgent issue of cultural appropriation through costume.
{"title":"Cultural appropriation: Yours, mine, theirs or a new intercultural?","authors":"Deepsikha Chatterjee","doi":"10.1386/scp_00013_1","DOIUrl":"https://doi.org/10.1386/scp_00013_1","url":null,"abstract":"This article considers how by shifting culturally anchored design materials from one context to simplistic placement in decontextualized settings, cultural appropriation takes place in costume design. Building on that, it discusses how production teams need to be cognizant of such issues in the design process given that availability of such materials has historically been possible because acquisition has often aligned with political and commercial ambitions. Reviewing scholarship on appropriation that includes performance, costume, fashion and cultural studies, it questions how designing costumes through intercultural interaction might be navigated in a globalized context, where artists are excluded through travel bans, but cultural materials are permitted free movement. The article then discusses how to create productive intercultural projects with teams willing to invest in ethical engagement. By including case studies in which such processes were less successful as well as one that indeed created new intercultural exchanges, this article is one of the first texts to address this complex issue. It intends to engender future forward thinking conversations with practitioners and researchers on the thorny but urgent issue of cultural appropriation through costume.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116636334","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":"Habiller l’Opéra: costumes et ateliers de l’Opéra de Paris1, Centre national du costume de scène et de la scénographie, Moulins-sur-Allier, France, 25 May–3 November 2019","authors":"Carole Schinck","doi":"10.1386/scp_00019_5","DOIUrl":"https://doi.org/10.1386/scp_00019_5","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128141760","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":"Costume at the National Theatre: A curator’s talk","authors":"A. Monks","doi":"10.1386/scp_00016_1","DOIUrl":"https://doi.org/10.1386/scp_00016_1","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126606246","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 visual essay will introduce Brave New Worlds’ costume-led devising process in the creative evolution of their production, Trinity. Brave New Worlds is a collaboration between movement specialist and director Valentina Ceschi, and artists and scenographers Guoda Jaruseviciute and myself, Kate Lane. Their work centres on the body as scenographer and on collective authorship of design and direction and examines the following research questions: How can a costume direct the body’s movement and this movement direct the design development? How do you create a dramaturgy from the scenography, invoking concept and narrative? If body scenography is the central focus for the performance, how do other design aspects collaborate to create a complete scenographic experience? This visual essay will present the working methodology of a visual dramaturgy, examining the use of the body as the instigator in the scenography, the dialogue between the costume and the performer, and between the designer/performer as subject, author and object of the design. It will explore the stages of production, and creative processes involved, from initial research on concept through design development to the implications of site-specific locations on the scenography and final dramaturgy. In the process, it places costume as author and dramaturg.
{"title":"Trinity: Visual dramaturgy, the body as scenographer and author","authors":"K. Lane","doi":"10.1386/scp_00005_1","DOIUrl":"https://doi.org/10.1386/scp_00005_1","url":null,"abstract":"This visual essay will introduce Brave New Worlds’ costume-led devising process in the creative evolution of their production, Trinity. Brave New Worlds is a collaboration between movement specialist and director Valentina Ceschi, and artists and scenographers Guoda Jaruseviciute\u0000 and myself, Kate Lane. Their work centres on the body as scenographer and on collective authorship of design and direction and examines the following research questions: How can a costume direct the body’s movement and this movement direct the design development? How do you create a\u0000 dramaturgy from the scenography, invoking concept and narrative? If body scenography is the central focus for the performance, how do other design aspects collaborate to create a complete scenographic experience? This visual essay will present the working methodology of a visual dramaturgy,\u0000 examining the use of the body as the instigator in the scenography, the dialogue between the costume and the performer, and between the designer/performer as subject, author and object of the design. It will explore the stages of production, and creative processes involved, from initial research\u0000 on concept through design development to the implications of site-specific locations on the scenography and final dramaturgy. In the process, it places costume as author and dramaturg.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129278803","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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