Bibliografías temáticas / Costumier

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Literatura académica sobre el tema "Costumier"

Autor: Grafiati

Publicado: 25 de mayo de 2024

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Artículos de revistas sobre el tema "Costumier"

Reid, Ellie. "Dressing the Pageanteers: The Local People and Theatre Professionals who Costumed Edwardian Historical Pageants". Costume 58, n.º 1 (marzo de 2024): 21–47. http://dx.doi.org/10.3366/cost.2024.0285.

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The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian.

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Dennis, Albert. "Artistic expressions with the use of costumes in selected Ghanaian video films: The freedom and responsibilities of the costumier as an artist". Journal of African History, Culture and Arts 2, n.º 3 (5 de septiembre de 2022): 176–88. http://dx.doi.org/10.57040/jahca.v2i3.268.

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The increase in advertisements for newly produced films in Ghana is a testament that the Ghanaian film industry has become one of the fastest growing businesses in the country. Contemporary film producers or directors have continued the tradition of their forebears in the use of various traditional visual elements of communication, particularly the use of costumes. Costumes are powerful visual elements employed in film productions for effective characterization and to offer vital narrative cues to viewers. While acknowledging that costumiers have the freedom to express themselves in constructing costumes, both for utilitarian and aesthetic purposes, it is equally important for such artistic expressions to be accompanied by some responsibilities to social norms. Employing a qualitative approach and relying on purposive sampling to sample two Ghanaian video films, this study relied on content analysis to explore how costumes have been used in films. Anchored on the theory of representation, the study contributes to the ongoing debate on the ways in which costumes are used in video film productions. The findings revealed that some costumiers in the third historical phase of film making in Ghana have not articulated their artistic freedoms and equal responsibilities associated with costuming films. This calls for regular in-service training and workshops for costumiers.

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Noiseux-Gurik, Renée. "François Barbeau, costumier : une esthétique ambivalente". L’Annuaire théâtral: Revue québécoise d’études théâtrales, n.º 22 (1997): 57. http://dx.doi.org/10.7202/041330ar.

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Gurik, Renée Noiseux. "Laure Cabana, Pionnière du Métier de Costumier". Theatre Research in Canada 8, n.º 1 (enero de 1987): 36–48. http://dx.doi.org/10.3138/tric.8.1.36.

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Cet article raconte la biographie de Laure Cabana, la première personne à exercer professionnellement au Québec le métier de costumier. En traversant la période de 1933 à 1972, l'article offre aussi un survol des activités qui occasionnèrent à Montréal l'émergence de la scénographie moderne.

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Henry King, Lorraine. "Black skin as costume in Black Panther". Film, Fashion & Consumption 10, n.º 1 (1 de abril de 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.

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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)". Studies in Costume & Performance 4, n.º 2 (1 de diciembre de 2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.

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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.

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Hackett, Lisa J. y Jo Coghlan. "The mad kings of The Royals: Fashioning transgressions in royal popular culture television". Film, Fashion & Consumption 11, n.º 2 (1 de noviembre de 2022): 139–53. http://dx.doi.org/10.1386/ffc_00044_1.

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The costuming of actors plays a significant role in how their characters and their actions are understood by audiences. This article examines how male transgression is encoded in fictional royal television via costuming. Costumes for royal characters sit at the intersection between dramatic convention and popular expectations of royal behaviour. Little work has been done to date to examine how costume works in this space, even less on fictional male royal costuming. This article demonstrates, via a discussion of the four kings of the television drama The Royals (2015–18), how costuming both engages in narrative expectations and reveals transgressions.

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Dwiantari, Scorina. "Pengaruh Citra Merek dan Kualitas Produk terhadap Loyalitas yang Dimediasi oleh Kepuasan". Jurnal Ilmiah Aset 22, n.º 1 (31 de marzo de 2020): 51–62. http://dx.doi.org/10.37470/1.22.1.161.

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The purpose of this study was to determine the effect of brand image and product quality on consumer loyalty with consumer satisfaction as a mediator using Indrakila Cheese products. To determine the effect of brand image, product quality and customer satisfaction on costumer loyalty using Indrakila Cheese products. To find out whether costumer satisfaction mediates the influence of brand image and product quality on costumer loyalty using Indrakila Cheese products. The population in this study were all costumers who use Indrakila Cheese products. The sample is determined by the Purposive Sampling method. Sampling with Slovin formula obtained 110 respondents. The data used are primary data using a questionnaire. Data analysis using linear regression. Based on the results of the research that has been done, it can be known brand image has a positive effect on costumer satisfaction of Indrakila Cheese products. Product quality has a positive effect on costumer satisfaction of Indrakila Cheese products. Brand image has a positive effect on costumerr loyalty of Indrakila Cheese products. Product quality has a positive effect on costumer loyalty of Indrakila Cheese products. Customer satisfaction has a positive effect on costumer loyalty of Indrakila Cheese products. Brand image has a positive effect on costumer loyalty mediated by costumer satisfaction. Product quality has a positive effect on costumer loyalty mediated by costumer satisfaction.

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Astuti, Hesti Dwi. "KENDALA PENYELESAIAN SENGKETA KONSUMEN MELALUI BADAN PENYELESAIAN SENGKETA KONSUMEN (BPSK)". Jurnal Hukum Mimbar Justitia 1, n.º 2 (11 de octubre de 2017): 572. http://dx.doi.org/10.35194/jhmj.v1i2.41.

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Empowering costumers is a form of awareness on the specific characteristics in the world of costumers, the different interest among different parties which have various bargaining positions, has been given space in the field of costumer dispute settlement which is a good policy in empowering costumers. A special institution which has been appointed to resolve costumer disputes is the Costumer Dispute Settlement Agency (BPSK). Costumer Dispute Settlement Agency is an independent agency or institute, a public agency which has the duty and authority such as implementing the handling and settlement of disputes between costumers and businessmen. Based on the duties and authorities of BPSK, the costumer dispute settlement mechanisms should be registered to the nearest BPSK. The examination based on the request of the costumer is done just like proceedings in the General Court and the decision made by BPSK is final. However, during the implementation of their duties in settling costumer disputes, BPSK is facing some obstacles such as lack of technical guidance in regulating aspects related to procedural law, constrained by the human resources of BPSK members, the lack of understanding and awareness of costumers and also constrained by operating costs. Therefore, the improvement of the structure and legal culture needs to be done by socializing the costumer protection law to the public.Keywords : Costumer Dispute, Costumer Dispute Settlement Agency, Costumer Protection.

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Gorbunova, Anastasiya A. y Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY". RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, n.º 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.

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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century. It also deals with the composition and specificity of exotic costumes, the artistic-stylistic and genre features of the works under study and, when possible, identifies their pictorial sources.

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Tesis sobre el tema "Costumier"

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 Folles
Through 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 secondaire
This 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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Libros sobre el tema "Costumier"

1951-, Lacroix Christian, Pinasa Delphine, Kahane Martine y Centre national du costume de scène et de la scénographie (France), eds. Christian Lacroix, costumier. Paris: Mécène, 2007.

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Jean-Marie, Lhôte, ed. Maîtres d'art: Jean-Claude Duplessis, couvreur-ornemaniste : Antoine Leperlier, verrier : Jacques Beaujoin, costumier de théâtre : Pascal Thomasset, lapidaire : Pierre Lallier, imprimeur en taille-douce. Paris: Réunion des musées nationaux, 1997.

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Roger, Jouan, Baude-Defontaine Alain y Bibliothèque historique de la ville de Paris., eds. Les bâtisseurs de rêves: Grands décorateurs de théâtre, 1950-1980 : [exposition], Bibliothèque historique de la ville de Paris, [Paris, 8 avril-7 juin 2003]. Paris: Paris bibliothèques, 2003.

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Colleen, Seeley, ed. Doll costuming: How to costume French & German bisque dolls. Livonia, MI: Scott Advertising and Pub. Co, 1989.

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American costume, 1915-1970: A source book for the stage costumer. Bloomington: Indiana University Press, 1989.

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Vogt, Anke. Fancy dress for children's parties. Hartlebury: D-Books International, 1988.

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House, Deborah. 30 super déguisements pour les enfants: Faciles à réaliser, rigolos à porter. Montréal: Sélection Reader's Digest, 2007.

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Rogers, Barb. Costuming made easy: How to make theatrical costumes from cast-off clothing. Colorado Springs, Colo: Meriwether, 1998.

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William-Alan, Landes, ed. Men's 17th & 18th century costume, cut & fashion: Patterns for men's costumes. Australia: Players Press, 2000.

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Costume, Inc Roma. Roma costume 2013. Burbank, CA: Roma Costume, 2013.

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Capítulos de libros sobre el tema "Costumier"

King, Emerald L. "Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity". En Gender in Japanese Popular Culture, 209–40. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12942-1_8.

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AbstractIn dressing up and performing cosplay (costume play), practitioners will often change their appearance using wigs, makeup, layered shoes, and fantastic costumes. Increasingly, cosplay practitioners of all genders will use various means to alter the way their bodies look, adding curves or muscles with padding and binding or tucking away unwanted bulges. In addition to scholarly sources, this chapter will also make use of the commentary on gender, race, and body type posted by cosplay practitioners on public, global social media platforms such as Instagram and Twitter in order to understand what constitutes the “perfect” or ideal cosplay body—if, indeed, such a thing exists. Rather than asking why these cosplayers dress up as their favorite characters from popular culture, the focus here will be on examining the ways in which cosplayers create their costumes. While many cosplay practitioners buy or commission their garments from online stores, the focus here is on cosplayers who create their own costumes for the purpose of taking part in competitions. This chapter will explore how cosplay practitioners sculpt the body beautiful cosplay and what the challenges may be in portraying in 2D superheroes and magical girls in a 2.5D or 3D reality.

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Masura, Nadja. "Costuming". En Digital Theatre, 79–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_4.

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Finamore, Michelle Tolini. "Costumes and Gowns: The Rise of the Specialist Film Costume Designer". En Hollywood Before Glamour, 107–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9780230389496_5.

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Escolme, Bridget. "Costume". En Shakespeare and the Making of Theatre, 128–45. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_8.

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Mackenzie, S. C. "Costume". En Handbook for History Teachers, 1028–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-179.

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Manning, E. M. Rosalind. "Costume". En Handbook for History Teachers, 447–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-56.

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Dickinson, Carol y A. K. Dickinson. "Costume". En Handbook for History Teachers, 649–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-95.

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Mullis, Eric C. "Digital Costuming". En Instruments of Embodiment, 123–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003124740-7.

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Monks, Aoife. "Introduction". En Costume, 1–6. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_1.

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Maclaurin, Ali. "Writing about Costume". En Costume, 7–35. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_2.

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Actas de conferencias sobre el tema "Costumier"

Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva y Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process". En 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.

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Paula, Suélen Carolini de. "BEYOND THE OLD AND THE NEW IN FASHION: THE UPCYCLING BELLY DANCE COSTUME DEVELOPMENT". En ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p229-239.

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The research is characterized as exploratory and applied and aims to present the use of upcycling for the development of belly dancing costumes. As a theoretical review, it presents sustainability in fashion,Upcycling as an alternative for the reuse of discarded products and Costume Design in Belly Dance. The applied methodology unfolded through a bibliographic review and application of design tools,investing in the verification of techniques and materials suitable for the reuse of discarded party dresses. The main results refer to. development of a collection of belly dance costumes made from discarded party dresses, for a fashion show at the Shimmie Festival in São Paulo.

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Cabral, Alexandra y Carlos Manuel Figueiredo. "Costume Design: Ergonomics in Performance Art". En Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100820.

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The human body, in contemporary art, is used as a means, as it also is in fashion design practices applied to the art field, that explore the alteration of the anatomic perimeter in its impact on the user’s self-image, expression and transformation. Costumes that defy gesture bear a reflection on dress over body and we question how functionality (or the lack of it) can influence cognition – mostly when we expect a performer to feel and express the same way a character does and when the audience aims to feel the same way the character feels. Does the performer become a more reactive user towards dress under the realm of the action field of performance art, if interacting with a «non-user-friendly» costume? Since costume and body cannot be separated in performance art, we explore ergonomics, regarding both physical and psychological discomfort in improving the acting of a performer, namely when improvising or moving and in the contribution to a more proficient involvement with the audience. A noninterventionist methodology of qualitative basis is used, based on literary research and observation on the impact of different garments on a performer’s work, so as to obtain new indicators for costume design methodology.

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Мокина, А. Ю. y Е. А. Химичева. "SYNTHESIS OF MATERIALS AND TECHNIQUES IN MODERN ARTISTIC TEXTILES AND COSTUME". En КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.20.

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Авторы выявляют роль современной тенденции использования синтеза техник и материалов в художественном текстиле и костюме, прослеживая процессы трансформации ткачества, вышивки и моделирования текстильной среды. В данной статье предлагается рассмотреть проблему взаимодействия и слияния декоративно-прикладного искусства, текстильного дизайна и новых форм моделирования. В статье исследуются возможности интеграции традиционных техник обработки текстильных материалов при создании текстильных произведений и научно-технических новаций в современном текстиле и костюме. Основной результат — новые возможности ассоциативно-образной передачи авторской идеи через синтез в художественном текстиле и арт-костюме. The authors identify the role of the modern trend of using synthesis of techniques and materials in artistic textiles and costume, tracing the processes of transformation of weaving, embroidery and modeling of the textile environment. This article proposes to consider the problem of interaction and fusion of decorative and applied arts, textile design and new forms of modeling. The article explores the possibilities of integrating traditional textile processing techniques in the creation of textile works and scientific and technical innovations in modern textiles and costume. The main result is new opportunities for associative and figurative transmission of the author's idea through synthesis in artistic textiles and art costumes.

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Bîzgu, Tatiana. "The enigma of Holiday in Moldova transmitted through the mask and the folk costume". En Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.20.

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Our ancestors passed on a huge spiritual heritage to modern generations. The ritual folklore of Moldova includes the most interesting and significant traditions that have survived over the centuries, associated with family and calendar holidays. The most important Moldovan folk traditions can be admired during the winter holidays. The mask is one of the most important elements of these actions and a work of folk art. It contains the characteristics of popular heroes, constituting two main types: zoomorphic and anthropomorphic, as well as a division into costumed masks and face masks. Folk craftsmen gave expressiveness to masks with the help of materials, colors, sizes and plastic shapes. The art of masks and costumes in Moldovan folklore is a valuable part of the ethnographic heritage of the Republic of Moldova and deserves careful study in close connection with the literary and musical part of folk art.

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Maurhofer, Christoph, Gokcen Cimen, Mattia Ryffel, Robert W. Sumner y Martin Guay. "AR costumes". En VRCAI '18: International Conference on Virtual Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284398.3284402.

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Elias, Larissa y Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.

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Kirkland, Arden, Michael Lesk y Allison Steffmann. "Context for costumes: faceted access to historic costumes". En Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.11.

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Na, Yoonhee y Sook Jin Kim. "A Study on the Production of 3D Virtual Costumes for Building Virtual Costume Museum – Focusing on Fashion in the 1980s -". En Breaking Boundaries. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.13752.

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Honauer, Michaela. "Designing Interactive Costumes". En DIS '17: Designing Interactive Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3064857.3079166.

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Informes sobre el tema "Costumier"

Seybold, Patricia. Want Costumner-Contributed Content? Boston, MA: Patricia Seybold Group, septiembre de 2009. http://dx.doi.org/10.1571/bp09-01-09cc.

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Lennon, Sharon J., Aziz Fatnassi y Zhiying Zheng. Sexualization of Halloween Costumed Women. Ames: Iowa State University, Digital Repository, noviembre de 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1423.

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Arthur Bradley, Linda. Mounting a Costume Exhibit:. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-609.

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Jablon-Roberts, Sara y Eulanda Sanders. Historical Accuracy in Costume Design: Experiences and Perceptions of Broadway Costume Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1745.

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Martin, Kathi, Nick Jushchyshyn y Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Robayo Pinzon, Oscar y Magda Páez Torres. La generación hiperconectada. Universidad del Rosario, septiembre de 2022. http://dx.doi.org/10.12804/dvcn_10336.35988_num6.

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Los teléfonos inteligentes se han convertido en los reyes de un mundo permanentemente conectado en el que se volvió costumbre, y casi una necesidad, responder a los estímulos de la realidad virtual. De acuerdo con un estudio de la Universidad del Rosario, junto con otras instituciones, las aplicaciones de mensajería instantánea y las redes sociales son las que mayor impulsividad generan entre los jóvenes.

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Satinsky, Emily y Denise Green. The Furry Fandom: constructing a costumed society for identity exploration. Ames: Iowa State University, Digital Repository, noviembre de 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-158.

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Bright, Megan Elizabeth y Jinhee Nam. A Case of Interdisciplinary Course Project: Costuming in Historically based Film. Ames: Iowa State University, Digital Repository, noviembre de 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1484.

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Rhee, Jongeun y Susanna Bordelon. �Choli�: Re-Design and Engineering Functional Belly Dancing Costume. Ames (Iowa): Iowa State University. Library, enero de 2019. http://dx.doi.org/10.31274/itaa.8283.

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McCracken, Arienne, April Elisha Stanley, Huanjiao Dong y Sara Marcketti. Survey of Historic Costume Course Redesign Using Bloom's Taxonomy. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-368.

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