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Dissertations / Theses on the topic 'Costume design'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Lebis, Evelyn. "Interactive Costume Design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11182.

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Is improvisation during collaboration a design choice? What is the difference between responsive inspiration and collaboration? Who is in charge of the artistic end result? And what influences the designer’s mood? These questions come across when investigating how to present wearable technology and the role of performance.

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2

Borton, Lisa Kay. "Graduate costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2826.

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3

Hamlin, Gretchen Lapp. "Costume as art /." Online version of thesis, 1991. http://hdl.handle.net/1850/11870.

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4

Squitiere, Rita Noelle. "Costume Design for Rent." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86601.

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Theater
M.F.A.
Rent is an extremely popular musical, recognizable across the globe. The iconic characters, images, and costumes from the original production have been copied and interpreted numerous times. I have chosen to reinterpret this script by examining the essence of each individual character. After researching magazines from the time period in which Rent was written and books containing information on AIDS and the East Village, all subject matter within Rent, I developed a design concept. Through a series of fourteen sketches I present my original concept for a very well known story. Production photographs and pre-production tables support my journey from concept to finished production.
Temple University--Theses

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Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.

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This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.

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6

Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.

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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.

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Khayat, Mia Tamar. "Realized works in costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2915.

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Ruiz, Emily Beth. "Costume design for the stage." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4740.

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Gilbert, Melissa Leigh. "Costume design for the theatre." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1608.

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Bodley, Brittany Dee. "Visual storytelling through costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.

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Baker, Terry. "Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2345.

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This thesis document is a presentation and exploration of the process involving the costume design for The Boys from Syracuse (music by Richard Rodgers, lyrics by Lorenz Hart, book by George Abbott) in the McLeod Theatre at Southern Illinois University Carbondale during February 2018. This light-hearted, farcical musical reminds us that life doesn’t have to be so serious. It explores our ability to be consumed by our own responsibilities, which causes us to escape to the theater and just enjoy a show. Chapter 1 contains the research, background information, and script analysis that was conducted to further enhance and inform the design of the costumes. This chapter also contains the goals that I wanted to achieve within my design and personal growth. Chapter 2 focuses on the design process and how each costume evolved through collaboration and discussion. Chapter 3 documents the build process of the design and how it was realized. An examination of the dress rehearsals and the production’s four performances are also contained within this chapter. Chapter 4 documents an analysis of the entire design and its evolution through outside critiques and commentary supported by personal self-reflection.

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Rocha, Rosane Muniz. "A trajetória de Gianni Ratto na indumentária." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13052009-161645/.

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Esta pesquisa registra e analisa as criações de figurinos, desde a Itália até o Brasil, de Gianni Ratto, diretor, cenógrafo, iluminador e figurinista, além de autor e importante figura no teatro italiano e brasileiro. A catalogação, organização e digitalização das imagens de seus trabalhos resgata parte da história do teatro. Somada à investigação em fontes bibliográficas, e levando em consideração a história oral nos depoimentos registrados, a análise do seu acervo torna-se não apenas histórica, mas também cultural. Um estudo comparativo de três montagens do mesmo espetáculo (Elixir de Amor) em diferentes fases de sua carreira com Giorgio Strehler, no Teatro Scala, em 1951; no Theatro Municipal de São Paulo, em 1971; e com Antonio Pedro, no Teatro Municipal do Rio de Janeiro, em 1983 possibilita uma reflexão sobre os diferentes processos criativos em seu ¯processo de trabalho. no que tange à elaboração de figurinos teatrais.
This research focus and analyses costume creation, from Italy to Brazil, of Gianni Ratto, director, set, light and costume designer, also author and a very important person in both Brazilian and Italian theater. The cataloguing, organization and the creation of photo archives of the images rescue part of the theater history. Together with the investigation of varied bibliographical sources and considering oral history as documental information, the analysis of his collection becomes not only historical, but also cultural. A comparative study of three different mise-en-scènes of the same play (LElisir DAmore) in different moments of his career with Giorgio Strehler, in Teatro alla Scala, in 1951; at the Theatro Municipal de São Paulo, in 1971; and under Antonio Pedros direction, in the Teatro Municipal do Rio de Janeiro, in 1983 makes it possible to reflect on the different creative processes in his process of creation. In terms of costume creation.

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Grace-Duff, Jamie L. "A Costume Design for Pudd'nhead Wilson." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199309.

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Theater
M.F.A.
This thesis describes the process I used to research, draw, paint and finally design the costumes for Temple University's theatrical production of Pudd'nhead Wilson written by Charles Smith. I present the differences between the novel by Mark Twain and the script by Charles Smith. The early design process is then described including meetings with the director Doug Wager, the scenic designer Ian P. Guzzone and the lighting designer Christopher Hetherington. My preliminary costume research is illustrated in the text and the accompanying appendices followed by full color gouache renderings. I discuss the creation of the costumes from first fittings through final dress rehearsal and the challenges that were overcome. A separate chapter, including costume and make-up design, is dedicated to the controversial character of The Minstrel. Finally, the conclusion contains images enabling the reader to visualize the design of each character from preliminary collage, rendering and finally a production photo. These are combined with my thoughts and reflections on the final designs.
Temple University--Theses

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Ryan, Hayley Melissa. "Creating character: a costume design portfolio." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6268.

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The role of a costume designer in a theatrical production is influential in creating character, time, and space. Costumes are the way in which a costume designer expresses a character’s personality, emotions, social status, and other personal idiosyncrasies. The job of a costume designer is to know how a character’s identity influences how they dress themselves. As a character develops throughout the performance, so must their clothing. Costumes show how a character ages, transforms, or regresses over the arc of a production. Not only do costumes show character details, they help clue the audience into time of day, season of the year, and whether the scene takes place indoors or out of doors. Costume designers draw inspiration from period images, paintings, writings, artwork, and fashion. A costume designer understands how small details within clothing can assist an audience’s understanding of character, time, and space. This thesis portfolio includes images and descriptions of my costume designs at the University of Iowa. This portfolio contains both realized productions and renderings from class work to show the evolution of my design work over the course of my Master of Fine Arts education. The entire breadth of my thesis portfolio can be found at the link: http://ir.uiowa.edu/theatre_d_folio/.

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Edelson, Kate Elizabeth. "Costume Designs for Divine Words." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/84203.

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Theater
M.F.A.
Divine Words is an adaptation of the play Divinas Palabras by Ramon del Valle- Inclan. In this paper, I hope to outline my design process as well as give insight into the development of a new theatrical work. I want to outline my journey from the beginning with the development of the script, the process of designing the show, and then implementing that design. Designing the costumes for this production required creating characters that both aided in telling the story as well as reflected individual character. I designed twenty-eight looks for fourteen actors that took into consideration time period, socio-economic status, plot, and characterization. This production was set in the depression era dust bowl of the American Midwest. To reflect this in my designs I performed thorough research from books and Internet sources on the historical period as well as the clothing of time. I utilized photographers such as Dorothea Lang and Arthur Rothstein to further inform my understanding of the people that inhabited this time and place. I then utilized this research to give depth and distinction to the characters in the play. This culminated in a unique design that added to this artistic experience about desperation and hope that is Divine Words.
Temple University--Theses

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Patton, Michael Graham. "The house of Atreus : set design and costume design." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/7630.

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The purpose of this paper is to describe the creation and implementation of the set and costume design for The University of British Columbia’s production of The House of Atreus at the Fredric Wood Theatre in September of 2005. These designs were the thesis project for my Master of Fine Arts Degree. The House of Atreus is John Lewin’s adaptation of Aeschylus’ The Oresteia. New York based director KJ Sanchez directed the play, and the lighting design was created by Gillian Wolpert. Annabell Woods assisted with the costume design and Ian Giles assisted with the set design. The scenic carpenters were Don Griffiths and Jason MacLean, and the Scene Shop Assistant was Michelle Nelson. Head of costume construction was Jean Driscoll-Bell, and costume builders were Lexa Naicu, Heather Keith, Tsz Ling Schum and Marijka Brusse. The props team consisted of Janet Bickford and Lynn Burton. Lauchlin Johnston and Michelle Nelson also built properties. This paper will describe the events and design process prior to rehearsals as well as the methods used to create the design during the rehearsal process. Focus will be given to designing a set that evolves as the company develops its presentation. Images and photos of designs are included to show the conception and realization of the designs.

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Fickling, Sarah. "Costume Design and Production of An Enemy of the People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461090962.

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Alatorre, Carmen. "A costume design for The Learned Ladies." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/24220.

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The purpose of this thesis is to document and describe the costume design project behind the University of British Columbia (UBC) production of The Learned Ladies. This comedy, written by seventeenth century French playwright Molière (Jean Baptiste de Poquelin) in 1672, is a five -act play composed in verse. Our Production ran from February 7-16, 2008 in the Frederic Wood Theatre and was performed by students in the Bachelor of Fine Arts Acting Program. MFA candidate Patrick Gauthier directed the production and the creative team included Stephania Schwartz (Set Designer), Kristin Robinson (Lighting Designer). The construction of the costumes by a team of undergraduate costume design students, was supervised by Jean Driscoll-Bell (Head of Wardrobe) and her assistant Charlotte Burke. My own assistants were BFA students Chantelle Balfour, Jessica Jeffrey and Elena Dubova. Alison Green served as my thesis advisor. The paper starts with a brief synopsis of the play and its significance at the time it was performed in Europe, followed by a description of the creative process and the production concept. The following chapters explain in detail the costume design concept and its elements character by character as well as the technicalities of the costume production.

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Lahoda, Oksana, and Yanwen Lin. "Men's costume and "masculine shaping" in design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17899.

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The authors propose to consider the problem of gender identity, which in male fashion can be identified by means of "masculinity". The aim of the study is to determine the constants of a man's suit that are associated with exclusively masculine qualities in clothing and constitute the meaning of the category "masculinity", its gender subtext. It has been established that in its historical and socio-cultural development, the design of a man's suit and trends in men's fashion are closely related to socio-psychological types, their style of life, and the ideology of subcultures.

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Bush, J. Theresa. "Shockheaded Peter: a junk opera. Costume Design." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3107.

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My concept is rooted in the fairy tail land of the dark woods like so many other terrifying fairy tails from my youth. Shockheaded Peter, our boogie man, is of the trees. The blood of the rotten children feeds the trees in this concept for the marbles that fall from our children literally representing blood will flow down the rake, across tin gutters, and into a huge tin washbasin out of which grows our gnarly set tree, a gnarly knobby willow. Peter comes from this tree that is fed by the blood of children. I set my costumes in the Regency period and located it in Germany, which gives my costumes the feeling of old fairy tails and their origins. The silhouettes lend themselves well to the progression of the story of each character. My inspiration for this design was the artwork of Elizabeth McGrath, contemporary west-coast studio artist and sculptor. The nature of Elizabeth McGrath’s seriously macabre sculptural installations drew me immediately to her as a source of inspiration for this design.

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Sivigny, Debra Kim. "A costume design for Bill Irwin's Scapin." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1768.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Biehl, Jennifer N. Ms. "Hoping for Chekhov costume design for Three sisters /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1236874515.

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Thesis (M.F.A.)--Kent State University, 2009.
Title from PDF t.p. (viewed Nov. 30, 2009). Advisor: Sharron Campbell. Keywords: costume design; Three Sisters; Chekhov Includes bibliographical references (p. 94-95).

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Feickert, Kabrina Lee. "Costume Design for "The Matchmaker", A Reflection on Process." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/314340.

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Theater
M.F.A.
This paper recounts and reflects upon the costume design process for Temple Theaters' 2015 production of "The Matchmaker" by Thorton Wilder. Each major step and phase of the process will be discussed. This includes the script analysis, period fashion research, rendering, and implementation of design choices made by the designer. In addition, the paper will explore the designer's training and goals leading up to this production as a culmination of her post-graduate education with Temple University.
Temple University--Theses

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Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).

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Russell, Sarah. "Capturing a classic costume design for Jane Eyre /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240343022.

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Sturdivant, Jr Jeffrey A. "COSTUME DESIGN OF “THE TWO GENTLEMEN OF VERONA”." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/388813.

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Theater
M.F.A.
This paper is meant to serve as a reflection and observation of the author's work costume designing Temple University's production of The Two Gentlemen of Verona by William Shakespeare. The paper will walk the reader through the design process of the production from inception, through execution and to the final product. The paper will also reflect on the author's personal goals during the three years spent pursing Master of Fine Arts in Theatre.
Temple University--Theses

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Russell, Sarah Roseanne. "Capturing a Classic: Costume Design for Jane Eyre." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240343022.

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Nicks, Andie. "Recreating Creation: Designing the Costumes for Children of Eden." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2133.

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Southern Illinois University’s Department of Theater presented Children of Eden on the McLeod Theater stage in October of 2016. This Thesis is an examination of the process of designing the costumes for the production from the early play analysis, through the design, to the performances. Stephen Schwartz and John Caird’s Children of Eden is a musical exploration of the first nine chapters of the book of “Genesis.” Our production of Children of Eden focused on creating a global exploration of the familial themes. The first chapter of this document contains an in-depth analysis of this script. Chapter Two covers the designing of the show. The third chapter discusses the production process. Chapter Four offers an overview of the tech rehearsals and performances of the show. Finally, the fifth chapter examines the original goals set for myself and the execution of each goal. The visual process for each character’s design can be found in the Appendices, including rough sketches, renderings, fitting photos and production photographs.

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Chavez, Angela M. "A costume design for Duke Ellington's Sophisticated ladies." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1445.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Stamoolis, Leslie Anne Wise. "The Body Underneath: A Method of Costume Design." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1177096688.

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Quander, Kenann. "The Grapes of Wrath; A Costume Design Thesis." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2176.

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In this thesis, I intend to present an original costume design for John Steinbeck's The Grapes of Wrath. This production is the first full collaboration of its kind between Virginia Commonwealth University’s Theatre Department and Barksdale Theatre. This thesis will be a complete account of my entire design process from the design concept to the finished, realized production. I will be examining my design choices and finished production photos, including color photographs of my original renderings, fabric swatches and research. Throughout my thesis, I will be researching ways to accurately represent the millions of exploited itinerant farm laborers who survived the severe drought and economic depression of the early 1930s.

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Lujan, Marisa Anne, and Marisa Anne Lujan. "Hands on a Hardbody: Costume Design and Stereotypes." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625074.

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This thesis combines the work I did for my Senior Capstone, costume design for Arizona Repertory Theatre's production of Hands on a Hardbody, with the research I did on the stereotypes present in the show and throughout the history of theatre. While working on the production I noticed that there was a very fine line between authentic costumes or satire with designing these characters' costumes. The show tackles identities as one of its themes, and the characters use stereotypes to attack each other or use as a façade. After completing the production, I decided to research the inception of the visual cues and stereotypes that costume designers use on stage to depict such characters. Because of the politically correct society we live in currently, there's been an increase in calling out insensitive costumes and portrayals. I analyzed how these costume stereotypes may be damaging and how costume designers can work with visual cues that audiences recognize to convey characters in a sensitive manner. This thesis includes my research paper and documents pertaining to my Capstone design assignment: artist's statement, research, renderings, production paperwork, and archival photos.

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Clark, Elizabeth N. "LACED IN: THE COSTUME DESIGN FOR INTIMATE APPAREL." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/404.

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This thesis presents the written documentation and evaluation of the costume design of Southern Illinois University Carbondale’s production of Intimate Apparel.Chapter One is a detailed analysis of the script, including the historical background of the main character and the time period in which the play is set. The second chapter discusses my design process and collaboration with the director and other designers. Chapter Three is a description of the build for the show as well as problems that arose during the process and the resulting solutions. The final chapter is a self evaluation of my design process and an assessment of the build. In the appendices of this document are alternative designs for the show, essential paperwork, renderings for each character, and production photos.

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Kuhn, Lindsey LaRissa. "Character in cloth and concrete: a costume and scenic design portfolio." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6785.

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Crocker-Aulenback, Heather Lee. "Dressing cultures costume designs for Pericles /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/369/.

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Winton, Anna F. "Creative clothing design inspired by descriptions of Cinderella's clothing recorded in 322 Cinderella story variants." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000wintona.pdf.

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Johnson, Jerry L. "Costuming It's a wonderful life." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2446.

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Thesis (M.F.A.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains vi, 61 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 61).

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Hao, Priscilla Ruth. "An Interpretation of Modern: Costume Designs for An Adaptation of Shakespeare's The Two Gentlemen of Verona." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1486.pdf.

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Chen, Yu-Chieh. "Versatile bridal wear." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1345.

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Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010
In the 19th and 20th Century, products were manufactured with little concerns for the environment. The result of this was an over flowing of low quality products and a high elimination rate, especially in the fashion industry where constant change is the nature of the business. Particularly in bridal wears, the sustainability is deficient and practicality is limited. bridal garments would only be worn once and are usually highly priced. The purpose of this research is to explore whether consumers are willing to contribute and make a difference to our environment by opting for versatile bridal wear. In order to obtain information regarding the bridal industry of Cape Town. a qualitative approach was applied to ensure that the end products will meet customer needs. Store visits and informal interviews were used as the primary methods. and Internet and magazines were used as secondary methods to gain relative information about the market. The information collected. regarding modem women's opinions on the concept of an interchangeable bridal range, current fashion trends and the concept of Slow Design, forms the foundation to the development of my range - versatile bridal wear. The entire range consists of 14 garment pieces that are interchangeable to form 6 or more looks. This allows the wearer to dress up according to their desires. As a result, these dresses are reusable and thus overcoming the problem of costly garments. which are only worn once.

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Booysen, Eileen Eleanor. "Challenging tradition through sustainable bridal wear for a contemporary South African market." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1349.

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Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010
This research was conducted to find a natural and functional alternative to commercialised bridal wear in South Africa, for a South African market base, which is holistically sustainable in light of the global paradigm shift towards sustainability. In order to find what the alternative would be I have questioned the symbolic meaning behind the product being presented to the South African bridal apparel market, and the bridal apparel consumer's views and attitudes towards commercialised bridal wear. For the research I have reflected upon theories of sustainability (Slow Design, Cradle to Cradle, and Design for Environmental Sustainability) which provided the main theoretical underpinning for product development, guiding material choice and usage, as well as production process in order to achieve a holistically sustainable product. My supporting theory, Representation, gives meaning to the idea of an alternative to the 'big white dress' being equally as 'bridal`, as Representation states that any object could substitute as a symbol for something else. Inspiration from a self-reflecting road trip through the Karoo as well as tracing my family heritage in Bloemfontein provided the back drop for my bridal range. The Karoo landscape inspired my garment aesthetic and natural fabric usage. I wanted a theme of old-fashioned romance to come through as the essence of my range - inspiring the garments to compliment the rite of passage to which they belong, and not to dominate the meaning of the ceremony. Therefore the garments could easily be adapted to a second function through styling and/or dyeing. The range consists of ten outfits, and comprises of men's and ladies wear.

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Françozo, Laura de Campos. "Lume teatro: trajes de cena e processo de criação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13112015-101124/.

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O objetivo deste trabalho é analisar o processo de criação dos figurinos dos espetáculos do grupo Lume Teatro. Já que este grupo é, antes de tudo, um núcleo de pesquisa, o presente trabalho busca então compreender de que forma as linhas de pesquisa do Lume Teatro influenciam ou modificam o modo de produção dos trajes de cena. Para atingir essa meta, analisamos o pensamento acerca dos figurinos dos mestres teatrais que foram a base do trabalho desenvolvido pelo Lume. A seguir, foram entrevistados os sete atores-pesquisadores do Lume e dois figurinistas que trabalham com frequência com o grupo. A partir das entrevistas, descrevemos o processo de criação dos trajes de espetáculos derivados de três linhas de pesquisa, apontando as características recorrentes de cada linha. O trabalho de finalização teve como guia norteador o estabelecimento de pontos de contato e distanciamento entre aquilo que os mestres do Lume diziam a respeito do figurino e aquilo que o Lume produz.
The objective of this research is to analyze the creative process behind the costumes used by Lume Teatro. Since Lume Teatro is first and foremost a research center, this study aims to find out whether the research lines of the group influence or change the means of production of their costumes. The analysis was carried out in three phases. First, the writings of Lume Teatro\'s masters were examined in order to understand their thoughts on costumes. The second phase was to interview Lume\'s seven actors and two costume designers who often work for them. The third phase was to describe the creative process behind each spectacle of three of their research lines. We were then able to point out recurrent characteristics in each research line. The result of this study was guided by a comparison of Lume Teatro\'s costume practices with their masters thoughts on the subject.

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Schmeal-Swope, Catherine Isabel. "Costume Design and Production for Othello, by William Shakespeare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306343922.

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Green, Melanie Fisher. "Come Look At The Freaks: Costume Designs for Temple University's Production of Side Show." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/542013.

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Theater
M.F.A.
The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Fall 2018 production of Side Show. The process is chronicled from the first assignment of the production, to reading the play, then through the process of gathering research, the initial design process and subsequent revisions, the final renderings, and into the process of building and implementing the author’s designs into a fully realized production. Subjects include the historical life of the Hilton Twins, the realities of side show performers, the changing fashions of the 1920s and 1930s, the process of creating unique, unconventional costumes, and the process of collaborating with costume shop staff. The author will reflect on the successes and difficulties of mounting a large, unique musical.
Temple University--Theses

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Esposito, Angelina Sara. "A pictoral journey of theatrical costume and light design 2013-2016." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3079.

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Salamat, Ana Marie Aguilar. "A costume design of Carlo Gozzi's (The Green Bird)." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7151.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Lynch, Julie. "FROM CHARACTER TO CLOTH: Analysing Costume Design on Screen." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9955.

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From Character to Cloth: Analysing Costume Design on Screen examines five key components in costume design for screen. The five chapters include: Observation: Analyses how designers make appropriate and balanced design choices by utilising accurate and curious observation methods. It explores how rigorous observation can enrich research outcomes, textual comprehension and design interpretation. Collaboration: Considers and evaluates director and designer practices and relationships. The study focuses on four internationally recognised creative partnerships including: Baz Luhrmann and Catherine Martin, Luchino Visconti and Piero Tosi, Tim Burton and Colleen Atwood, Martin Scorsese and Sandy Powell. Character and Function: Investigates how the performer’s physicality, their individualism and character interpretation are supported by costume and how the costume impacts on the performer’s dramatic arc. It considers the process of how performers and designers collaborate when developing a costume, and measures how colour influences the audience’s understanding of character. Design Styles and Themes: Examines how unique design styles are created utilising layered and ambiguous design choices. Four films are analysed, including: Death in Venice, Brazil, The Wizard of Oz and Mildred Pierce. The study looks to identify the different style elements and how they are combined creating each film’s individual style and character. Mise-‐En-‐Scène and the Costume: Observes the costume’s emotional and visual impact within the moving screen composition. It explores how costume can manipulate emphasis and focus and how it has the ability to underscore storytelling and communicate subliminally. The research and analysis in screen costume design is cross-‐referenced with the writer’s 28-‐year career as a designer for live performance.

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Goeres, Sharon Tobin. "Costume designs for An ideal husband by Oscar Wilde." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2395.

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Thesis (M.F.A.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains iv, 152 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 130).

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Ishikawa, Reiko. "Costume design for The Ice wolf by Joanna Halpert Kraus." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5144.

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Thesis (M.F.A.)--West Virginia University, 2007.
Title from document title page. Document formatted into pages; contains vii, 95 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 45).

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Lan, Xiaolin. "The Exploration of Development of the Costume Design for Musical Urinetown." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4161.

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The purpose of this thesis is to explain my process in the development of the costume design for Urinetown: The Musical as my last mainstage design project for the Virginia Commonwealth University Department of Theatre. Included is the concept, analysis and design process that went into creating effective costumes for the production for the stage.

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Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.

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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.

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