Rozprawy doktorskie: „Costume”

1

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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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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3

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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4

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, i 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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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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10

Schubert, Gabriella. "Kleidung als Zeichen : Kopfbedeckungen im Donau-Balkan-Raum /". Wiesbaden : Harrassowitz, 1993. http://catalogue.bnf.fr/ark:/12148/cb37450180t.

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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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12

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

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15

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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16

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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Centergran, Ulla. "Bygdedräkter, bruk och brukare /". [Göteborg] : [Etnologiska Föreningen i Västsverige], 1996. http://catalogue.bnf.fr/ark:/12148/cb37022552v.

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18

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, i 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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21

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

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

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22

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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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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Ege, Ufuk. "Costume in Chaucer's works with special reference to the visual history of costume in his era". Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310504.

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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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Boone-Riffaud, Christine. "La Mode et l'habillement au dix-septième siècle". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37612050m.

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Pourbahman, Fereydoun. "Histoire du costume en Perse antique". Besançon, 1987. http://www.theses.fr/1987BESA1030.

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Pour retracer l'histoire du costume en perse, de 5000 ans avant Jésus-Christ au VIIème siècle après Jésus-Christ, un découpage en cinq périodes nous est nécessaire, chacune correspondant à des moments précis et distincts de l'histoire de la perse. C'est pourquoi avant de s'attacher à l'étude propre du costume, nous nous sommes imposes de retracer, pour chacune de ces périodes, les faits historiques importants qui les caractérisent, mouvements de l'histoire et évolution du costume étant en étroite corrélation. L'étude de l'habillement des élamites, qui régnèrent sur une partie de la perse avant les mèdes, ne fut possible qu'a travers les bas-reliefs et objets découverts au cours de fouilles. Du costume général des mèdes, se détache la tiare, propre à cette dynastie, alors que celui des achéménides met relief le candies avec l'Anaxyride. Ce sont les bas-reliefs de Persépolis, centre de l'art persan, qui nous fournissent le plus de renseignements sur l'évolution de l'habillement au cours des règnes de ces deux dynasties. La victoire d’Alexandre le grand sur la perse permet l'installation du pouvoir des séleucides et se traduit par l'hellénisation de l'art iranien. Le traitement du costume apparait alors comme un compromis entre la perse et la Grèce. L'art perse retrouvera son identité grâce aux parthes qui, durant près de cinq siècles, régneront sur l’Iran. Ce qu'il en subsiste aujourd'hui comme témoignage. Se situe hors des frontières actuelles de l’Iran, dans des villes comme Hatra ou Doura-Europos.

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Stone, Katherine. "CREATING AN ENVIRONMENTALLY SUSTAINABLE COSTUME SHOP". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1867.

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The goal of my thesis is to provide the reader with a better understanding of how to create an environmentally sustainable costume shop. I chose to focus on certain elements of the costume shop that are imperative to the function of the shop, but desperately need to change for the sake of the environment. The elements I focused on were fabric, energy, and chemicals. Armed with a better understanding of why and what needs to be changed, the reader will be able to take this knowledge and apply it to their costume shop and life. We need to change how we interact with the environment and I hope this information will help bring about this action.

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33

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

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

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34

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

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35

Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"". Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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Urinetown: The Musical by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for Urinetown: The Musical and the challenges of working with a large cast and dealing with many quick changes.

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

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

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Raudszus, Gabriele. "Die Zeichensprache der Kleidung : Untersuchungen zur Symbolik des Gewandes in der deutschen Epik des Mittelalters /". Hildesheim ; Zürich ; New York : G. Olms, 1985. http://catalogue.bnf.fr/ark:/12148/cb34938075x.

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

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

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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering". Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.

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Paula, Renato Pupo de. "Transexualidade e os crimes contra o costume". Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/7583.

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Made available in DSpace on 2016-04-26T20:25:40Z (GMT). No. of bitstreams: 1 RENATO.pdf: 506088 bytes, checksum: 8fa782946a857c1bc48ee79c4b169c05 (MD5) Previous issue date: 2007-06-13
This study approaches the issue of transsexuality and the legal effects originated by it. With the transgenitalization, a surgery altering the transsexual's genital organs to adequate him to the psychologic sex, several legal consequences arise, such as rules for retirement, change of name in civil records, and many others. But the main focus is the issue of carnal conjunction through violence with the victim being the transgenitalized person, man to woman. The basic elements of rape are carnal conjunction and the woman as victim. With the transgenitalization, the penis-vagina relation becomes possible. Secondly, it is concluded that the surgery only adapts the anatomical sex to the psychological one, this being the true gender of a transgenitalized person, whom, therefore, was already a woman even before the surgery, thus enabling the characterization of rape
Este trabalho estuda a questão da transexualidade e dos efeitos jurídicos dela decorrentes. Com a trangenitalização, cirurgia que altera os órgãos genitais do transexual para adequá-lo ao sexo psicológico, várias conseqüências jurídicas são verificadas, como as regras para aposentadoria, mudança de nome nos registros civis e outras mais. Mas o foco principal é a questão da conjunção carnal mediante violência que tem como vítima o trangenitalizado, homem para mulher. As elementares do estupro são a conjunção carnal, e a mulher como vítima. Com a trangenitalização, a relação pênis vagina torna-se possível. Quanto ao segundo requisito, conclui-se que a cirurgia, de adequação e não de mudança de sexo, apenas adapta o sexo anatômico ao psicológico, verdadeiro gênero da pessoa trangenitalizada, que, portanto, já era mulher antes mesmo da cirurgia. Caracteriza-se, destarte, o estupro

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Скрипка, Альона. "The Main Features of Japanese National Costume". Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7256.

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

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

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Jaffré, Gaël. "Indexation de la vidéo par le costume". Toulouse 3, 2005. http://www.theses.fr/2005TOU30174.

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La contribution de cette thèse est l'introduction du costume comme caractéristique pour l'indexation automatique de contenus vidéo. Deux schémas sont développés pour l'extraire de manière automatique dans une image donnée. Le premier repose sur une détection préalable des visages. Le deuxième se sert des costumes déjà détectés, pour chercher dans l'image si l'un d'eux est présent. Puis, un descripteur de costume est proposé. Il est fondé à la fois sur une analyse de la couleur, sur une information sur la texture, à partir d'une approximation des filtres de Gabor, ainsi que sur des descripteurs sémantiques. Pour finir, une application d'indexation à partir des costumes est présentée. Elle permet de détecter, de manière automatique, toutes les occurrences de toutes les personnes présentes dans une vidéo. Les résultats obtenus montrent que sur des contenus de nature variée, le costume est discriminant
The contribution of this thesis is the use of costume as a feature for automatic video content indexing. First, two algorithms are presented to automatically extract the costume in a frame. The first one uses face detection. The region of the costume is estimated by the area under the face, according to its scale. The second one uses the costumes which have already been detected, to find if one of them is present in the frame. Then, a descriptor is proposed for the costume. It uses color analysis and texture information, estimated from an approximation of the Gabor transform, as well as semantic descriptors. Finally, we present a video indexing application which uses the costumes. It automatically detects the characters who are present in a video, as well as each occurrence. The results show that costume is well suited for recognition, on various kinds of contents

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

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

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Mott, Jason. "This drawing of a man in costume". View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/rp/mottj/jasonmott.pdf.

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

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

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Espiau, Camille Cros Vincent. "Le costume folklorique en région Rhône-Alpes". [S.l.] : [s.n.], 2003. http://www.enssib.fr/bibliotheque/documents/dessride/rrbespiau.pdf.

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

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

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

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

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