This visual essay focuses on the perception of fragility through the costume design and making process and subsequent creative interaction with performers, central to the creation of a piece of choreographed contemporary dance. Working with porcelain clay as wearable material, examples of emerging methodologies for researching costume are demonstrated. Through this practice its position as the governing element to the piece is explored as costume becomes the ‘text’ determining the choreography. Can the costume shape the physical and emotional responses, as its resistant, yet fragile form dictates the movement and senses of the body?
{"title":"Perceptive Fragility: Movement and porcelain","authors":"Dawn Summerlin","doi":"10.1386/SCP.4.1.109_1","DOIUrl":"https://doi.org/10.1386/SCP.4.1.109_1","url":null,"abstract":"This visual essay focuses on the perception of fragility through the costume design and making process and subsequent creative interaction with performers, central to the creation of a piece of choreographed contemporary dance. Working with porcelain clay as wearable material, examples of emerging methodologies for researching costume are demonstrated. Through this practice its position as the governing element to the piece is explored as costume becomes the ‘text’ determining the choreography. Can the costume shape the physical and emotional responses, as its resistant, yet fragile form dictates the movement and senses of the body?","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121369584","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":"Centre National du Costume de Scène: Catalogues to dream by","authors":"Dominique Goy-Blanquet","doi":"10.1386/SCP.4.1.133_5","DOIUrl":"https://doi.org/10.1386/SCP.4.1.133_5","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123553587","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}
Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.
{"title":"Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale","authors":"Sally King","doi":"10.1386/SCP.4.1.43_1","DOIUrl":"https://doi.org/10.1386/SCP.4.1.43_1","url":null,"abstract":"Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116398063","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 contribution is developed from a series of discussions with Simona Rybáková, Czech costume designer and curator of the Extreme Costume exhibition that was presented at the Prague Quadrennial in 2011 (PQ11). Following an overview on the presence of costume at recent editions of the Prague Quadrennial, this text focuses on the Extreme Costume exhibition, which showcased cutting edge costume practice in a full-scale independent display, for the first time shown separately from the PQ11 general performance design exhibition. The discussion provides a critical reflection on the curatorial process for the Extreme Costume exhibition and illuminates the curator’s enquiry and her intentions behind specific choices. It includes a review of the audience’s response and, most importantly, concludes with Rybáková’s insights on her personal ‘emancipation’ from her long-lasting professional role as costume designer to the role of costume curator working with her colleagues’ practice for the purposes of this exhibition. Given the limited documentation available about Extreme Costume, the aim of this contribution is dual: to provide a resource on the scope and reach of this significant event; and to offer materials to costume research for further discussion related to exhibiting costume beyond the context of its original performance.
{"title":"Extreme Costume: A conversation with Simona Rybáková","authors":"Sofia Pantouvaki","doi":"10.1386/SCP.4.1.85_1","DOIUrl":"https://doi.org/10.1386/SCP.4.1.85_1","url":null,"abstract":"This contribution is developed from a series of discussions with Simona Rybáková, Czech costume designer and curator of the Extreme Costume exhibition that was presented at the Prague Quadrennial in 2011 (PQ11). Following an overview on the presence of costume at recent editions of the Prague Quadrennial, this text focuses on the Extreme Costume exhibition, which showcased cutting edge costume practice in a full-scale independent display, for the first time shown separately from the PQ11 general performance design exhibition. The discussion provides a critical reflection on the curatorial process for the Extreme Costume exhibition and illuminates the curator’s enquiry and her intentions behind specific choices. It includes a review of the audience’s response and, most importantly, concludes with Rybáková’s insights on her personal ‘emancipation’ from her long-lasting professional role as costume designer to the role of costume curator working with her colleagues’ practice for the purposes of this exhibition. Given the limited documentation available about Extreme Costume, the aim of this contribution is dual: to provide a resource on the scope and reach of this significant event; and to offer materials to costume research for further discussion related to exhibiting costume beyond the context of its original performance.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116583415","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":"Fashioning Horror: Dressing to Kill on Screen and in Literature, Julia Petrov and Gudrun D. Whitehead (eds) (2018)","authors":"P. Lennox","doi":"10.1386/SCP.4.1.144_5","DOIUrl":"https://doi.org/10.1386/SCP.4.1.144_5","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"222 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122699887","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":"At the still point","authors":"Donatella Barbieri, S. Osmond","doi":"10.1386/SCP.4.1.3_2","DOIUrl":"https://doi.org/10.1386/SCP.4.1.3_2","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128973348","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 Tribes: A Walking Exhibition, Sofia Pantouvaki and Sodja Lotker (eds) (2015)","authors":"R. Hann","doi":"10.1386/SCP.4.1.141_5","DOIUrl":"https://doi.org/10.1386/SCP.4.1.141_5","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117276663","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}
Eva Tanguay (1878–1947), although little known today, was one of the most famous and wealthy actresses in America in the first three decades of the twentieth century. Tanguay’s vaudeville success was built on her playing a wild, racialized, highly sexed, financially and socially emancipated woman, who was nonetheless affectionate and warm. Scholarship to date has considered how Tanguay used the offensive stereotype of the ‘Coon’ associated with African Americans to achieve her huge commercial success, but less attention has been paid to how she used the symbolism and materiality of her costumes in conjunction with her racialized appearance and comportment to achieve her stardom. This article, therefore, examines how Tanguay expressed her ‘wild’ persona using costumes and comportment that blended established stereotypes that her audiences associated with the era’s dime museums, natural history museums, circuses, ethnographic expositions, human zoos and the conventions of minstrelsy. This article also reveals that Tanguay’s costumes and comportment were greatly influenced by a popular French performance style, the chanteuse èpileptique. This genre indicated the importance of a bodily comportment which animated costumes that was a highly popular sexualized and racialized performance style associated with cancan dancers that came from France’s experiences of ethnographic entertainment. This article thus traces how, as Tanguay’s star rose, her performance style increasingly blended trans-Atlantic conventions in costume and comportment to craft a wild persona that expressed the era’s tensions around changing gender roles, immigration and race in America.
{"title":"Ethnographic spectacle and trans-Atlantic performance: Unravelling the costumes of vaudeville’s ‘Queen’, Eva Tanguay","authors":"Emily Brayshaw","doi":"10.1386/SCP.4.1.25_1","DOIUrl":"https://doi.org/10.1386/SCP.4.1.25_1","url":null,"abstract":"Eva Tanguay (1878–1947), although little known today, was one of the most famous and wealthy actresses in America in the first three decades of the twentieth century. Tanguay’s vaudeville success was built on her playing a wild, racialized, highly sexed, financially and socially emancipated woman, who was nonetheless affectionate and warm. Scholarship to date has considered how Tanguay used the offensive stereotype of the ‘Coon’ associated with African Americans to achieve her huge commercial success, but less attention has been paid to how she used the symbolism and materiality of her costumes in conjunction with her racialized appearance and comportment to achieve her stardom. This article, therefore, examines how Tanguay expressed her ‘wild’ persona using costumes and comportment that blended established stereotypes that her audiences associated with the era’s dime museums, natural history museums, circuses, ethnographic expositions, human zoos and the conventions of minstrelsy. This article also reveals that Tanguay’s costumes and comportment were greatly influenced by a popular French performance style, the chanteuse èpileptique. This genre indicated the importance of a bodily comportment which animated costumes that was a highly popular sexualized and racialized performance style associated with cancan dancers that came from France’s experiences of ethnographic entertainment. This article thus traces how, as Tanguay’s star rose, her performance style increasingly blended trans-Atlantic conventions in costume and comportment to craft a wild persona that expressed the era’s tensions around changing gender roles, immigration and race in America.","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122529929","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":"Exhibition: Artisans de la Scène: La fabrique du costume","authors":"B. Lambert","doi":"10.1386/SCP.4.1.127_5","DOIUrl":"https://doi.org/10.1386/SCP.4.1.127_5","url":null,"abstract":"","PeriodicalId":273630,"journal":{"name":"Studies in Costume & Performance","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115407566","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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