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Arzatian, Céline G. "Mode et cinéma en france de 1896 à 1930. Comment habille-t-on les actrices et acteurs ?" Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030022.
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À travers une étude générale de l’organisation et de l’évolution des costumes au cinéma en France, du début du cinématographe jusqu’à la fin du muet, l’ambition de cette thèse est d’étudier les liens qui se sont créés entre la mode et le cinéma par le biais des maisons de couture participant à la confection des costumes de la vedette principalement. Il s’agit également de montrer quel a été l’impact de l’arrivée d’un professionnel de l’écran : le créateur de costume dans la conception des costumes d’un personnage. Cette thèse analyse à travers les dimensions historiques, humaines, économiques, esthétiques, la création et l’évolution du costume au cinéma. La première partie aborde les débuts du cinématographe, le rôle des opérateurs Lumière tournant leurs premières vues « mises en scène » avec des méthodes héritées du théâtre. Puis la thèse met en valeur les différentes pratiques mises en place par Georges Méliès pour habiller ses artistes et figurants à la Star Film. Elle s’attache ensuite aux premiers acteurs célèbres confrontés à l’utilisation d’un costume particulier pour créer leur personnage : Max Linder, Charles Chaplin et Pearl White. La deuxième partie s’intéresse à la manière dont le cinéma français s’est servi de la mode dans les films pour tenter de rivaliser avec le cinéma américain. Puis, dans une troisième et quatrième partie, l’analyse s’attache au travail de la maison de couture lorsque celle-ci est appelée à créer et prêter des vêtements sous l’impulsion du réalisateur ou à exécuter sous l’autorité du créateur de costumes, les vêtements de la vedette pour des fictions à costumes ou à sujet contemporain. Enfin la cinquième partie relève les points de convergence entre ces deux arts : la mode et le cinéma lorsqu’à la fin de la Première Guerre mondiale, les arts se stimulent mutuellement donnant naissance au nouveau style de cette époque. Le projet de Louis Delluc, qui s’inspire d’une revue de mode pour réaliser une revue de cinéma, mais également l’introduction au Salon d’Automne de la mode et du cinéma, puis la réalisation de L’Inhumaine comme point de bascule vers cette synthèse des arts, et enfin l’Exposition des Arts décoratifs qui contribuent à faire de la mode et du cinéma des arts complémentaires, modernes et emblématiques de la période dite des Années FollesThrough a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles
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Chu, Hoi-shan. "Museum for traditional Chinese garment." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.
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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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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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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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Burrington, David J. "Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
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Nguimfack-Perault, Sylvie. "Une approche ethnologique du costume de spectacle, de ceux qui le portent à ceux qui le fabriquent : identité, savoir faire et transmission." Paris 7, 1999. http://www.theses.fr/1999PA070117.
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On reconnaît l'individu de spectacle à son allure. On ne peut confondre l'acrobate avec la danseuse, la tragédienne avec le clown. Le costume de scène conjugué à l'attitude du corps constitue un puissant indicateur implicite sur le personnage représenté. Dans ce cadre, la danse et en particulier le music-hall où le paraître est porté à son comble constituent une référence obligée. La formation pour passer du statut de danseuse à celui de Girl est identique à une forme d'initiation. On en retrouve les ingrédients : le choc émotionnel (l'audition), l'isolement (la formation), la régression (le statut de "fille" qui est un statut de personne dépendante), la perte du moi (la conscience émoussée du sujet et le baptême en signe d'appartenance au groupe). Une mémoire spécifique est activée dès lors que le costume de scène st porté car c'est en fonction du port et des contraintes qu'il implique que la mémoire se construit. C'est aussi le passage définitif de la personne au personnage. La fabrication de ces costumes se fait par des artisans spécialisés : les artisans du spectacle. Représentants de savoir faire existants depuis le treizième siècle, ils se sont adaptés à l'utilisation de matériaux nouveaux. Ils sont les seuls à vivre l'état naissant de la création et le passage de la matière brute - à dompter - à l'objet fini, celui de l'esquisse à plat au volume. Ils sont tributaires du travail des uns et des autres tandis que l'artiste rassemble et porte chaque pièce du costume. Cependant les ateliers ferment un à un car leur économie n'est pas en adéquation avec cette fin de siècle. Quel avenir pour la jeune création, alors ? Quel devenir et quelle transmission pour ces savoir faire ?We recognize the artist in the way he's dressed. We can't confuse between an acrobat and a dancer or a tragedian and a clown. The stage costume associated to a body attitude constitutes a strong indicator about the represented character. In the domain of dance, Music Hall is particularly interesting because of the extravagance of the stage costume. It will be our reference. The formation to become Girl is similar to an initiation. The observer will find all ingredients : emotional shock (audition), loneliness (during fomation) regression (being a Girl means depend on somebody), the new personality and the dull consciousness, the baptism as a sign of belonging to a new community. As a link of this particular formation, the body will have a new memory going beyond the fact of knowing dancing. This fact starts when one wears the stage costume and it's according to this fact that dancing bodies built specific memory. The making of these stage costumes needs a specific knowledge. Specialized handcrafts men possess it. They represent old french corporation of XIIIth century. They adapted ancient knowledge to new raw material. They are the only one to live the birth estate of creation : the transition of raw material to an object, from the esquiss to the volume. All handcrafts men depend on the others to see their creation in a full existence when the artist gathers and wears each part of the costume. However, workshops close one by one because of inadaptated economy. How will creation be going on ? How will knowledge be transmitted ?
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Coulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.
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En danse contemporaine, le champs du costume recouvre un large domaine, allant du nu à une quasi accessoirisation du corps, en passant par la fripe ou des tenues diversement élaborées. Réelle interface entre le corps du danseur et le regard du spectateur, le costume reste trop souvent du domaine de l'évidence, ne bénéficiant que rarement d'une attention dans les discours relatifs à la danse. C'est la relation entre les costumiers et les chorégraphes que nous nous proposons de regarder ici de plus près, au-delà des relations trop souvent obscures qui lient costume et danse. Après un retour dans l'histoire, (Noverre, le ballet romantique, Loie Füller, Isadora Duncan, les ballets russes, parade, Marie Wigman, le Bauhaus, Martha Graham, Merce Cunningham, Alvin Nikolais, Pina Bausch), nous nous penchons plus précisément sur la définition, l'analyse du costume, avant d'en proposer une typologie en danse contemporaine. Les chorégraphes Daniel Larrieu, Maguy Marin, Karine Saporta, Hervé Robbe, Régine Chopinot, Philippe Découfle, et Jean-Claude Gallotta ont été interrogés. Pour Dominique Bagouet, disparu au moment de l'étude, nous avons écouté ce qu'en disaient ceux qui avaient travaillé avec lui. Pour certains, un costumier « majeur » c'est le cas de Dominique Fabrègue pour Bagouet, de Philippe Guillotel pour Decoufle ou de Jean-Yves Langlais pour Gallotta. Pour d'autres, de fréquents changements. Autant d'orientations esthétiques et de solutions pratiques pour intégrer le costume dans le projet chorégraphique, qui en viennent à nous préciser les instants et instances de création. Le choix du costume est-il finalement le résultat d'une stratégie de la part du chorégraphe, ou bien résulte-t-il d'un ensemble de conjonctions et de faits empiriquement établis ? Cette dernière analyse nous mène, en forme de conclusion, à nous demander si l'on peut réellement parler en termes de stratégie lorsqu'il s'agit des démarches des chorégraphes pour mener à bien leur projet. Nous avons tenté de cerner la possibilité de suivre et d'analyser la venue du costume dans la chorégraphie, avec ce que nous ont livré les uns et les autres, aides de traces, photos, schémas, empreintes, afin de soutenir le propos et d'essayer d'aller à la rencontre de ce dont nous supposons l'existence, à savoir une stratégie de définition visuelle des corps sur scène.
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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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Viémont, Gaëlle. "Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.
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Cette thèse cherche à comprendre et à analyser les fondements historiques, sociaux, culturels et genrés d’une méconnaissance et d’une sous-valorisation actuelles des costumiers et des costumières, en accordant un primat à leur parole propre. Traitant des origines théoriques de l’art costumier à partir de l’apparition de l’appellation professionnelle consacrée, la première partie retrace le parcours et les luttes multiples de Pierre-Nicolas Sarrazin, en cherchant à identifier les motifs de l’échec de la valorisation professionnelle entreprise par ce dernier au XVIIIe siècle. La deuxième partie présente, à partir de l’analyse d’un recueil d’entretiens de costumiers d’aujourd’hui, les notions de métiers de service et de rapport de commande, de genre et de « souci de l’autre » comme étant les caractéristiques de cette activité professionnelle, et autant de leviers potentiels d’oppression. Enfin, la troisième partie étudie la carrière de Dominique Fabrègue – spécialiste de la coupe en un morceau – en tant que « fabrique » d’une œuvre dont la portée est esthétique et critique, de manière à défendre l’idée que l’art costumier constitue un art à part entière, qui pour être second dans l’élaboration d’un spectacle, n’est pas pour autant secondaireThis work aims at analyzing the historical, social, cultural and gender factors responsible for the current undermining of the costume designers and makers profession. The first part consists in a historical research onthe theoretical origins of the Art of Costume starting with the appearance of the professional vocable - Costumier - invented by Pierre-Nicolas Sarrazin, as well as a study of the means this latter used to promote his field of work during the 18th century and how he came to fail. The second part is an interview-collection (2013 to 2016) - based reflection on the order nature of the work, the gender characterization of the workers and « care » as a creative motivation. It demonstrates how these specifics are potential ways to oppress the costume designers and makers and to deny them the appreciation and salary they deserve. The third part is an a esthetic critique of Costume Designer Dominique Fabrègue’s career, and the « Cut in one piece » Artwork she specialized in. This section argues that the discipline of designing costumes is an Art in full, and as it may come second in the process of putting on a play, is not for all that secondary and shouldn’t be considered assuch
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Juchet, Aurore. "Les costumes de scène et leurs dessinateurs à Paris au temps du Romantisme 1825-1850 : le triomphe du costume historique." Paris 10, 2008. http://www.theses.fr/2008PA100164.
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Au début du XIXe siècle, il était encore fréquent de voir sur scène des acteurs jouer ensemble dans une même représentation vêtus de costumes de différents styles et différentes époques. Pourtant, depuis le milieu du XVIIIe siècle, un vaste mouvement de réforme s’était engagé visant à rétablir la vérité historique dans le costume. Mais ce n’est finalement qu’entre 1825 et 1850 que les costumes historiques, élaborés par des artistes à partir de sources archéologiques et de documents anciens s’imposèrent véritablement sur la scène tant au théâtre qu’à l’opéra. L’intérêt nouveau du public pour tout ce qui touchait à l’Histoire contribua largement à cette réforme. La vie réelle avec ses décors et ses costumes s’invita sur la scène. Drames romantiques et grands opéras offrirent un déploiement de détails pittoresques et d’éléments de couleur locale. Les auteurs tels que Victor Hugo et Alexandre Dumas firent appel à leurs amis peintres pour dessiner les maquettes des costumes de leurs drames : Louis Boulanger pour le premier, Eugène Giraud pour le second. Ce dernier fut également le dessinateur des costume pour le Théâtre Français. A l’Opéra, le dessinateur Paul Lormier s’imposa comme le grand spécialiste du costume historique. Il s’y consacra exclusivement pendant plus de cinquante ans, devenant à ce titre le premier dessinateur professionnel de costume. Durant cette période, le nombre de costumes de scène augmenta considérablement : chaque époque, chaque catégorie de population devant être représentée avec ses propres costumes. Par conséquent, la réforme des costumes de scène eut également des répercussions sur les acteurs et sur les ateliers de confection des théâtresAt the begining of the nineteenth century, it was quite normal to see actors dressed with costumes from different style and period playing together in a same play. Nevertheless, since the middle of the eighteenth century, began a reform in order to impose the right costume to the stage. But until 1825-1850 there was not great result. With the romantics at theater and opera, the historic costumes created by artists based archeological and historical documents became essential. The real life with décor and costume invaded the stage. Romantic dramas and french “Grand Opéra” were full of pitoresque and local colour. Writers like Victor Hugo or Alexandre Dumas asked their friend Louis boulanger and Eugène Giraud, two painter for creating the costumes of their plays. Paul Lormier was the costume’s designer of the “Académie de Musique”. He was considered as the best historical costume designer. As he worked his all life at the Opera, he could be considered as the first professional costume designer. During this time, the number of costume explosed since it was necessary to have costumes for each period, each category of person. Consequently, this reform changed also lot of things for actors and theater costumes workshop
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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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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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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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Neckman, Karolina, and Elgé Petrulyté. "Historical fashion and modern action : Historical accuracy in female costumes in games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18967.
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This thesis will investigate how developers can create recognizable and historically realistic female game characters while balancing historically accurate aspects and creative aesthetics.This paper is meant to give a better understanding of the importance of accurate historical female costumes in games, and investigate whether or not these are preferable to a gaming audience. The results will be reached by analysing the results collected from two online surveys where six 3D models’ turnarounds from two different eras with different levels of historical accuracy will be represented.
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SILVA, Sandro Vasconcelos da. "O Costume da praça vai à casa : as transformações urbanas e suas influências sobre os costumes da classe burguesa do Recife oitocentista (1830 - 1880)." Universidade Federal Rural de Pernambuco, 2011. http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/6187.
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Influencé par la modernité européenne du XIXe siècle, et en partie par les changements à Rio de Janeiro, avec l'arrivée de la famille royale et plus tard avec la formation de l'Empire, la ville de Recife au cours des huit cents cherché à moderniser les urbanistes en suivant les normes européennes. Cette tentative a provoqué certains membres de la quête élite locale pour une amélioration de leurs habitudes afin qu'ils puissent être reconnus comme membres de ces nouvelles normes de la „civilisation‟ adoptée, en particulier ceux d'origine française. A partir de cette prémisse, nous avons trouvé certains aspects de la vie de la cité et comment ce processus de „modernisation urbaine‟ a eu lieu à partir de l'environnement public (la rue) et en transformant l'intérieur de certains espaces privés (la maison), permettant des innovations dans la cohabitation et de sociabilité. Pour retrouver certains de ces changements directement notre regard vers l'action d'investigation pour favoriser ces nouvelles valeurs sont basées sur visuelles, les habitudes et les normes de l'acquisition d'objets, symboles de statut. Tous ces efforts venaient de tenter de distance entre l'espace public et privé, ce qui, contrairement à toute attente, une imbrication croissante de l'hybridation de ces et culturel. Utilisé en tant que sources de documents de recherche de nos notes et annonces dans les journaux, et quelques romans et chroniques de l'époque dans laquelle nous examinons.
Influenciada pela modernidade européia do século XIX, assim como pelas mudanças ocorridas no Rio de Janeiro desde a chegada da Família Real, a cidade do Recife ao longo dos oitocentos buscou modernizar-se seguindo os padrões europeus. Essa tentativa desencadeou em alguns integrantes da elite local uma busca pelo refinamento dos hábitos para que pudessem ser reconhecidas como integrantes dos novos padrões de “civilização” adotados, sobretudo os franceses. Partindo dessa premissa, observaremos alguns aspectos do cotidiano da cidade e como esse processo de “modernização urbana” se deu. Para isso dirigimos nosso olhar investigativo à percepção de como a adoção de novos valores distintivos desencadeou uma tentativa maior de separação entre o espaço público e o privado, levando, ao contrário do que se imaginava, a um entrelaçamento cada vez maior destes e à hibridização cultural. Utilizamos como fontes de nossa pesquisa os romances, as crônicas do e sobre o período em que nos debruçamos, assim como algumas notícias estampadas nos jornais da época.
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Jay, Corey M. "The Unraveling of Shakespeare's Othello." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/117.
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This thesis analyzes one of Shakespeare’s greatest tragedies from the perspective of its costumes, and chronicles the start-to-finish process of the costume design for the April 2012 production of Othello held at Pomona College. Incorporating the Pre-Raphaelite art movement with high fashion’s late Alexander McQueen, this thesis brings to light Othello’s predominant themes of race and honesty by means of luxurious textiles and distinct silhouettes.
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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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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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Товстенко, Ілона. "National Costumes in Ukraine." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7258.
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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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Kovtun, I. "Egyptian Costume History." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8476.
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Фролова, Олена Олексіївна, and Н. М. Сиромля. "Traditional Japanese costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18273.
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Hamlin, Gretchen Lapp. "Costume as art /." Online version of thesis, 1991. http://hdl.handle.net/1850/11870.
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Borton, Lisa Kay. "Graduate costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2826.
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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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Schubert, Gabriella. "Kleidung als Zeichen : Kopfbedeckungen im Donau-Balkan-Raum /." Wiesbaden : Harrassowitz, 1993. http://catalogue.bnf.fr/ark:/12148/cb37450180t.
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FIGINI, SILVIA. "Bayesian variable and model selection for costumer lifetime value." Doctoral thesis, Università Bocconi, 2007. https://hdl.handle.net/11565/4051152.
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Burris, Sarah Mittiga. "Creatures: Series of Sculptural Costumes." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1227280056.
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Burris, Sarah M. "Creatures series of sculptural costumes /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227280056.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Jan. 5, 2010). Advisor: Paul O'Keeffe. Keywords: sculpture, performance, fabric, beauty, sewing, feminine. Includes bibliographical references (p. 28).
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Paredes, Peña Pedro. "La costumbre indígena y responsabilidad penal." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/134991.
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Tesis (magíster en derecho, mención derecho penal)Este trabajo desarrolla los fundamentos dogmáticos que se hallan detrás de la consideración de la costumbre indígena, en nuestro derecho y en lo penal, como un antecedente para el reconocimiento de una eximente o atenuante de responsabilidad penal. Y en la aceptación de que este reconocimiento normativo, se hace en aras del respeto del principio de culpabilidad. Por lo anterior, seguimos la tesis de que el fundamento de aquel reconocimiento normativo se fundamenta, en la existencia de un error de prohibición que, probado, determinará la eventual irresponsabilidad o benignidad en el tratamiento punitivo del indígena infractor de ley. A su vez, en materia probatoria, postulamos que la exigencia del art. 54 inc. 1° de la Ley 19.253 en concordancia con el art. 8.2 del Convenio OIT 169, obligan a que la acreditación en juicio de la costumbre indígena que se invoca, implica justificar ésta y su vigencia, su compatibilidad con la Constitución Política de la República y con los derechos fundamentales que establece el sistema jurídico nacional o con los derechos humanos internacionalmente reconocidos; y probar que, el proceder del individuo, se motivó en el influjo socio-jurídico que sobre él provocó la regla de comportamiento existente en la comunidad, de que forma parte
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Ibáñez, Cubillos Jaime Patricio. "La costumbre indiana siglos XVI-XVIII." Tesis, Universidad de Chile, 2002. http://www.repositorio.uchile.cl/handle/2250/107313.
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Memoria (licenciado en ciencias jurídicas y sociales)No autorizada por el autor para ser publicada a texto completo
Las fuentes del Derecho Indiano son, en fin, las mismas de todas los ordenamientos jurídicos: la ley, la costumbre, la jurisprudencia de los tribunales y la doctrinaria. Pero; entre ellas no se daba una jerarquía, ya que, ello dependía de las áreas de la vida social normada y del juego de los distintos poderes jurisdiccionales y normativos existentes. La costumbre daba una base sólida a la fragilidad de la vida cotidiana, así la costumbre no era considerada solo una fuente del Derecho, sino una forma de vida de éste. Era la costumbre y no la ley la que cohesionaba a la sociedad, cambiaba gradualmente para amoldarse a los nuevos tiempos. Además, “las condiciones de aplicación del Derecho no eran iguales en toda la Monarquía. Había áreas centrales y periféricas, con distintas jerarquía política, composición social y actividades económicas, donde era también variable la presencia e influjo de los juristas y de su cultura letrada. Para Margadant, en las regiones periféricas de México y hasta comienzos del siglo XIX en gran parte, el Derecho estuvo basado en las costumbres locales, aunque el Derecho escrito fuese considerado... como una guía importante...”.
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Стрижак, Любов Олександрівна, and Н. М. Сиромля. "History of Chinese costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18267.
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Cieskowski, Babette. "Costume Party With Blood." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu152335917211272.
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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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TheaterM.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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Turk, Rebecca Baygents. "Costuming as Inquiry: An Exploration of Women in Gender-Bending Cosplay Through Practice & Material Culture." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1553514620815081.
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Ögren, Kull Signe, and Jonsson Stephanie Spindler. "Att betala utan pengar : En studie om Sveriges största bankkoncerners produktutvecklingsprocesser av betalningslösningar och hur dessa kan effektiviseras genom ökad kundinvolvering." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45120.
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New innovation and technology have influenced the development of product development processes and the four largest banks in Sweden have more or less been forced to adapt their products and services along new customer requirements. It may therefore be considered appropriate to involve customers in this process. This by collecting customer information and allow customers to influence the process to a greater extent. The payment solutions of Sweden’s largest banks' continue to evolve and to pay with electronic money has come to change banks' product development processes of payment solutions. This process should not only create an innovative product but should also be performed with continuous quality, sharp focus and prioritization, fast action, team focus, customer involvement, follow-through, and with a final product with strong competitive advantages that satisfies customer needs. The purpose of this study is with help from Sweden's four largest banking groups; Handelsbanken, Swedbank, Nordea and SEB, create the optimal product development process that includes customer involvement, customer impact, and clearly indicate where and how the collection of customer data should occur. This, with the help of a developed analysis tool - as a result of the study, can be applied to analyze the extent to which customers can be considered to be involved and influence the product development process. The four banks do not involve customers in a sufficiently large extent in the current situation in their product development processes. Customer information is collected but not always implemented and the instances where customers may be involved and influence are too few. By modifying the process and eliminating and adding new process phases and in these involve customers with complementary methods has an optimal product development process been developed with a focus on the collection of customer information, customer involvement and customer impact. This process aims to create competitive advantages for banks through increased customer focus.Ny innovation och teknik har påverkat utvecklingen av produktutvecklingsprocesser och Sveriges största bankkoncerner har mer eller mindre blivit tvungna att anpassa sina produkter och tjänster utefter nya kundkrav, det kan därför anses lämpligt att involvera kunderna i processen. Detta genom att samla in kundinformation och låta kunderna påverka processen i en större utsträckning. Sveriges största bankkoncerners betalningslösningar fortsätter att utvecklas och att betala med elektroniska pengar har kommit att förändra bankernas produktutvecklingsprocesser av betalningslösningar. Denna process ska inte endast skapa innovativa produkter utan också genomföras med kontinuerlig kvalité, skarpt fokus och prioritering, snabba aktiviteter, team fokus, kundinvolvering, uppföljning och med en slutprodukt med starka konkurrensfördelar och som tillfredsställer kundernas behov. Syftet med studien är att med hjälp av Sveriges fyra största bankkoncerner; Handelsbanken, Swedbank, Nordea och SEB, skapa den optimala produktutvecklingsprocessen och påvisa vart i denna process kundinvolvering, kundpåverkan och insamling av kundinformation bör ske. Detta med hjälp av ett framtaget analysverktyg, ett resultat av studien, som kan tillämpas för att analysera i vilken utsträckning kunderna kan anses vara involverade och påverka en produktutvecklingsprocess. I dagsläget involverar bankerna inte kunderna i produktutvecklingsprocessen i tillräckligt stor utsträckning. Kundinformation samlas in men implementeras inte alltid och tillfällen där kunderna kan vara involverade och påverka är få. Genom att modifiera processen och eliminera samt addera nya processfaser och i dessa involvera kunderna med kompletterande metoder har en optimal produktutvecklingsprocess framtagits med fokus på insamling av kundinformation, kundinvolvering och kundpåverkan. Denna process är avsedd att stärka bankernas konkurrensfördelar genom att sätta kunden i fokus.
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Mueth, Libby Anne. "COSTUMING THE ADDAMS FAMILY: A GHOSTLY EXPERIENCE." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1920.
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AN ABSTRACT OF THE THESIS OF LIBBY MUETH, for the Master of Fine Arts degree in Theater, presented on April 8, 2016, at Southern Illinois University Carbondale. TITLE: COSTUMING THE ADDAMS FAMILY: A GHOSTLY EXPERIENCE MAJOR PROFESSOR: Wendi Zea In October 2015 the Department of Theater at Southern Illinois University produced the musical The Addams Family. This thesis is an exhibition of the process for designing the show from analysis to the audience. The Addams Family was a nostalgic romp that has its roots in the Family Charles Addams developed in his one panel cartoons, which grew into television shows, movies, and has most recently blossomed in to a musical. Our production focused on honing the kooky familiar family and joining them with the new lively ancestors. Chapter 1 walks through the analysis of the show and wraps up with a brief look at the goals for the process. The second chapter addresses the design process. Chapter 3 describes how we went from design to stage. Chapter 4 examines the technical week and performance. The last chapter explores how the goals were met and how I developed as an artist. In the appendices is a collection of roughs, renderings, paper work, and show images.
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Lewis, Shane. "Costume in "New Hollywood" movies /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17806.pdf.
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Wu, Hao, and 吳昊. "History of Chinese women's costume." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B3124080X.
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Zaichenko, Maria. "Historical costume in Zhytomyr region." Thesis, Міжнародний центр наукових досліджень, 2019. https://er.knutd.edu.ua/handle/123456789/14708.
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The analysis of Ukrainian traditional clothes, namely of Zhytomyr region, is conducted. Over the centuries of its development Ukrainian folk clothes have received a number of features that show its significant regional variety.Проведено аналіз українського традиційного одягу, а саме одягу Житомирщини. За століття свого розвитку український народний одяг набув ряд особливостей, які свідчать про його значну регіональну різноманітність.
Проведен анализ украинской традиционной одежды, а именно одежды Житомирской области. За столетия своего развития украинская народная одежда приобрела ряд особенностей, которые свидетельствуют о ее значительном региональном разнообразии.
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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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TheaterM.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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Bidleman, Araina Robin Joy. "Costume Director: Into the Woods." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144235.
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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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Bottini, Giorgio. "Costumi e consuetudine in Machiavelli." Tesi di dottorato, Lyon, 2017. http://www.fedoa.unina.it/11889/1/Bottini_Giorgio_28.pdf.
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Ce travail de thèse a pour ambition d’étudier le statut et la fonction des termes et concepts issus de la tradition juridique antique ainsi que médiévale dans la pensée politique de Machiavel. L’angle d’analyse adopté est celui du « ius non scriptum » et permet de mesurer l’influence des notions latines de « mores » et de « consuetudo » élaborées par le droit romain et le droit canon sur les formes vulgaires de « costumi » et de « consuetudine » que Machiavel mobilise dans l’ensemble de ses écrits. Plus largement, la recherche esquisse une généalogie du lexique politique de la Renaissance italienne à partir de ses antécédents latins pour mieux comprendre la logique de formation des langages politiques modernes. Le travail de recherche consiste à réinterroger la modernité de Machiavel en procédant à une contextualisation historique de sa pensée dans la longue tradition médiévale qui s’achève avec lui. Il s’agissait d’abord de repérer les principales occurrences du terme « costumi » dans les textes de Machiavel afin de mettre en lumière l’importance de cette catégorie non seulement conceptuelle mais aussi pratique dans le système de sa pensée. En s’éloignant momentanément du corpus machiavélien, j’ai cherché à présenter une histoire de la doctrine du « ius non scriptum » à partir des deux sources du droit médiéval que sont le Corpus Iuris Civilis (VIème siècle) et le Decretum Gratiani (XIIème siècle). Au terme de cette enquête, il a fallu revenir au corpus machiavélien pour montrer que la notion de « consuetudine » est l’une des plus importantes de son lexique politique parce qu’elle qualifie la nature des peuples dans leur rapport aux ordres et aux lois et constitue le fondement même de la vie des Républiques.
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Bottini, Giorgio. "Costumi e consuetudine in Machiavelli." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN077/document.
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Ce travail de thèse a pour ambition d’étudier le statut et la fonction des termes et concepts issus de la tradition juridique antique ainsi que médiévale dans la pensée politique de Machiavel. L’angle d’analyse adopté est celui du « ius non scriptum » et permet de mesurer l’influence des notions latines de « mores » et de « consuetudo » élaborées par le droit romain et le droit canon sur les formes vulgaires de « costumi » et de « consuetudine » que Machiavel mobilise dans l’ensemble de ses écrits. Plus largement, la recherche esquisse une généalogie du lexique politique de la Renaissance italienne à partir de ses antécédents latins pour mieux comprendre la logique de formation des langages politiques modernes. Le travail de recherche consiste à réinterroger la modernité de Machiavel en procédant à une contextualisation historique de sa pensée dans la longue tradition médiévale qui s’achève avec lui. Il s’agissait d’abord de repérer les principales occurrences du terme « costumi » dans les textes de Machiavel afin de mettre en lumière l’importance de cette catégorie non seulement conceptuelle mais aussi pratique dans le système de sa pensée. En s’éloignant momentanément du corpus machiavélien, j’ai cherché à présenter une histoire de la doctrine du « ius non scriptum » à partir des deux sources du droit médiéval que sont le Corpus Iuris Civilis (VIème siècle) et le Decretum Gratiani (XIIème siècle). Au terme de cette enquête, il a fallu revenir au corpus machiavélien pour montrer que la notion de « consuetudine » est l’une des plus importantes de son lexique politique parce qu’elle qualifie la nature des peuples dans leur rapport aux ordres et aux lois et constitue le fondement même de la vie des RépubliquesThis work aims at analysing the way Machiavel used words and concepts from the legal tradition of Antiquity and Middle Age in his political thought. Preference was given to the “ius non scriptum” in order to measure the direct influence of Latin categories such as “mores” and “consuetudo” elaborated by the Roman Law and the Canon Law and reemployed by Machiavel in a (much)more common form in all his writings. More broadly, it consists in a genealogy of the political vocabulary of the Italian Renaissance which is born in the Latin language borrowed from its Latin roots to highlight the logic of formation of modern political languages. In our research, we try to reconsider the modernity of Machiavel by contextualizing his thought in the medieval tradition which ends with Machiavel himself. First of all, we had to identify the main uses of the word “costumi” in Machiavel’s writings in order to emphasise its theoretical and major practical meaning in his thinking. By taking a short step back from the Machiavellian corpus, we tried to rebuild a history of the “ius non scriptum” doctrine from two medieval sources: The Corpus Iuris Civilis (VI century) and the Decretum Gratiani (XII century). At this point, we had to go back to the Machiavellian corpus to show the importance of the notion of “consuetudine” in his political vocabulary. It qualifies the people’s identity, the relation to orders, and more than everything it is the basis for the existence of Republics
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Centergran, Ulla. "Bygdedräkter, bruk och brukare /." [Göteborg] : [Etnologiska Föreningen i Västsverige], 1996. http://catalogue.bnf.fr/ark:/12148/cb37022552v.
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