Costume as an agent for ethical praxis

Pantouvaki, Sofia; Barbieri, Donatella; Isaac, Veronica

doi:10.1386/scp_00022_2

Cited by 3 publications

(2 citation statements)

References 13 publications

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“…In addition to Barbieri and Crawley (2019) and Pantouvaki, Fossheim, and Suurla (2021), such scholars include Gurnos-Davies (2021), Marshall (2021), von Rosen (2021), and Taylor (2021b). Ethical underpinnings have also gained substantial ground (von Rosen 2020; Critical Costume 2018 Conference n.d.; Barbieri and Pantouvaki 2020;Pantouvaki, Barbieri, and Isaac 2020). Thus, if the first wave of research into costume agency focused on the agential role of costume in performance often emphasizing costume-led or costume-generated performance, and the assumed second wave focuses on relational and interrelational aspects of costume from various viewpoints, then this latter lineage of research on costume agency also appears as the context for 'active costume'.…”

Section: Analytical Perspective: 'Active Costume'mentioning

confidence: 99%

The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style

Helve

2022

Studies in Costume &Amp; Performance

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With the aim of contributing to the scholarship on costume designers’ agential collaboration within contemporary dance, this article centres on the creative authorship of the designer. Using the notions of ‘signature style’ and ‘authorship’ as the key research lenses, it investigates the work of Finnish costume designer Erika Turunen within contemporary dance, specifically her collaboration with choreographer Tero Saarinen. Drawing from in-person interviews with the designer and materials related to her costumes, this article addresses the issues of re-invention versus repetition, and process and outcome as two interlinked steps in the creation of Turunen’s signature style.

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Section: Analytical Perspective: 'Active Costume'mentioning

confidence: 99%

The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style

Helve

2022

Studies in Costume &Amp; Performance

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“…A teoria e a prática do figurino, vem apontando a direção de suas investigações para uma questão que já estava sendo elucidada por Elizabeth Goepp, desde 1928, em A pesquisadora e figurinista Sofia Pantouvaki em parceria com outras pesquisadoras da área do figurino, vem organizando eventos internacionais de discussões sobre esse aspecto e repetindo em seus escritos seus interesses em investigar o figurino para além da figuração e da significação (Barbieri, Isaac, Pantouvaki, 2020). Há um crescente interesse em pensar sobre os efeitos do figurino na cena, nos corpos e no teatro, ou seja, não apenas por desvendar os significados dos objetos presentes, mas também compreender o gesto artístico do/a figurinista na encenação.…”

Section: A Teatralidade Do Figurinounclassified

Ensaios sobre o figurino: filosofia e teatralidade

Sousa

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This thesis presents, through five long and independent essays, reflections about the theatricality (and performativity) of costume, considering it as a line of movement that is elaborated and materialized through objects positioned on the surface of the body of artists in scene. The theory about the costume, which is organized here, is a proposition that considers philosophy, historicity and artistic creation, and it tries to answer, once more, the insistent question "what is the costume design?", "what became the costume theatrical?" and "how the costumes movement can be observed at the scene and at the creative process?". To this, I elaborate a philosophy of costume pointing to a philosophical exercise and the conceptual dimension of this scenic element from an interlocution with the philosophies of fashion and the philosophical drafts about the costumes, adding definitions about the costume itself from the crisis of the term in the brazilian researches and also considering the costume theatricality through its relation with the time. Furthermore, I also present a historical trajectory of the relations of expansion of the objects of the costume, both from a didactical approach by proposing a diagram inspired by the Rosalind Krauss's diagrammatic framework for the expanded field, and also by talking about its efforts of movement at the time through the (de)composition of the imagetic standards through the gender disobedience and the relational propositions that dilute the boundaries between the self and the other. Integrating the perspective of the artistic creation, I present the experience of the production of costumes and the composition of the colors for the play "Figura Humana" ("Human Figure ") by Programa Tercer Abstracto (Brazil/Chile), starting from a critical analysis about the Oskar Schlemmer's artistic gesture and going beyond in the elaboration of costumes to expose the scenic composition through the variations of the body, the space, the time and the objects. This theory collaborates with the detachment of the costume from the obligations with the reproduction of the clothing habits, investing on its radicality through an observation of its material and discursive powers that are not reduced to the objects of the costumes, but that is inside its theatricality as a line of movement.

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Reflections in water: Displaying political agency through costume, performance and video

Sarantou

Miettinen

2022

Studies in Costume &Amp; Performance

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This research revisits individual and collaborative artistic processes to articulate the combination of creative skills to produce and document research outcomes. Various creative processes, such as costume-making, performance-making, artistic video, photo documentation and editing, came about under particular circumstances and with different objectives. These processes, all with their unique and embedded stories, were brought together in a collaborative research outcome to create an original visual story with layered meanings – the video titled ‘Merelle (To the see)’ (Miettinen 2021). This video illustrates the connections between the different creative processes, and the memories, bodies, places and environments attached to them. However, some of the places and environments in which the costumes, performance and video came about were also implicit, only to be revealed in the research dissemination. The selected methodology entailed narrative accounts, reflexive research and collaborative visual analysis. The data were collected through storytelling and note taking of the events that enabled was re-narration of the three artistic processes described in this article. The reflexive research methodology and analysis drew on visual data from photography and the video to explore the outcomes of the collaborative work.

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Costume as an agent for ethical praxis

Cited by 3 publications

References 13 publications

The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style

The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style

Ensaios sobre o figurino: filosofia e teatralidade

Reflections in water: Displaying political agency through costume, performance and video

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