{"product_id":"performance-costume-9781350098800","title":"Performance Costume","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eCostume is an active agent for performance-making; it is a material object that embodies ideas shaped through collaborative creative work. A new focus in recent years on research in the area of costume has connected this practice in vital and new ways with theories of the body and embodiment, design practices, artistic and other forms of collaboration. Costume, like fashion and dress, is now viewed as an area of dynamic social significance and not simply as passive reflector of a pre-conceived social state or practice. This book offers new approaches to the study of costume, as well as fresh insights into the better-understood frames of historical, theoretical, practice-based and archival research into costume for performance.   This anthology draws on the experience of a global group of established researchers as well as emerging voices. Below is a list of just some of the things it achieves:1. Introduces diverse perspectives, innovative new research methods and approaches for researc\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe ambition and reach of this collection is superb and timely. For those of us working in the area of design, education and practice, this is the book we have been waiting for. [...] Performance Costume contains diverse, yet complementary, perspectives offering a rich and textured resource and is the most significant contribution to the expanded field of costume studies to date. * Studies in Costume \u0026amp; Performance *\u003cbr\u003e\u003ci\u003ePerformance Costume\u003c\/i\u003e does an impressive job at covering many areas in the complex world of costume design ... In spite of its expansive scope, this compilation can serve as a useful overview for aspiring costume designers seeking a deeper appreciation for the craft and any reader interested in academic costume theory and research. * Journal of Dress History *\u003cbr\u003eA truly pioneering exploration and discovery of new fields of costume study, \u003ci\u003ePerformance Costume\u003c\/i\u003e is the first of its kind. It broadens costume study from within the theatre to consider the design process and its practices and, significantly, aspects of wearing and social significance, looking at TV, cinema, schools, hospitals and the street, alongside theatre. Terrifically stimulating and important ... * Christopher Baugh, University of Leeds, UK *\u003cbr\u003eAn invaluable resource that is authoritative, international in scope, timely, and riveting. It is unique in its breadth of material, methodologies, and combination of contributions by academic and theatre practitioners in articles and 'snapshots'. * Patricia Lennox, New York University, USA *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of Figures Notes on Contributors Foreword - \u003cb\u003eMaija Pekkanen \u003c\/b\u003e(Costume Designer, Finland) Foreword - \u003cb\u003eSimona Rybáková \u003c\/b\u003e(Costume Designer, Czech Republic) Acknowledgements   Introduction: Activating Costume: A New Approach to Costume for Performance -\u003cb\u003e Sofia Pantouvaki \u003c\/b\u003e(Aalto University, Finland) \u003cb\u003eand Peter McNeil \u003c\/b\u003e(University of Technology Sydney, Australia)   \u003cb\u003eSection 1: Interpreting and Curating Costume\u003c\/b\u003e  1.1 Real or Virtual?: Studying Historical Costume Drawings and Sketches - \u003cb\u003eMargaret Mitchell \u003c\/b\u003e(University of the Incarnate Word in San Antonio, Texas, USA) 1.2 Cooking: Studying Film Costume Design - \u003cb\u003eDrake Stutesman \u003c\/b\u003e(Barrymore Film Center, Fort Lee, USA) 1.3 Displaying Stage Costumes: Exhibitions at the National Centre for Stage Costume, France - \u003cb\u003eDelphine Pinasa \u003c\/b\u003e(Centre National de Costume de Scène, France) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 1.4.  Cross Cultural Costume Research: Beijing Opera Costumes - \u003cb\u003eAlexandra B. Bonds \u003c\/b\u003e(University of Oregon, USA) 1.5.  Reading Maltese Carnival Costumes - \u003cb\u003eVicki Ann Cremona \u003c\/b\u003e(University of Malta) 1.6.  Curating Costume – Reflection - \u003cb\u003eAoife Monks \u003c\/b\u003e(Queen Mary, University of London, UK)  \u003cb\u003eSection 2: Personalities in Costume\u003c\/b\u003e  2.1.  Costume Centre Stage: Re-Membering Ellen Terry (1847-1928) - \u003cb\u003eVeronica Isaac \u003c\/b\u003e(university lecturer and freelance consultant, UK) 2.2.   ‘On and Off the Stage’: Costume, Dress, and Locating the Actor-Manager’s Identity, 1870-1900 - \u003cb\u003eHelen Margaret Walter \u003c\/b\u003e(Plymouth University and the University for the Creative Arts, Epsom, UK) 2.3.  Extravagance, Expense and Notoriety: Gaby Deslys’ French Costumes in America, 1911-14 - \u003cb\u003eEmily Brayshaw \u003c\/b\u003e(University of Technology Sydney (UTS), Australia) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 2.4.  A Foreign Affair On and Off Screen - \u003cb\u003eChristina M. Johnson \u003c\/b\u003e(FIDM Museum at the Fashion Institute of Design \u0026amp; Merchandising, Los Angeles, USA) 2.5.  Recording Costume Design in the Theatre and Performance Collections at the V\u0026amp;A: Vivien Leigh and Oliver Messel - \u003cb\u003eKeith Lodwick \u003c\/b\u003e(Victoria and Albert Museum, UK) \u003cb\u003e Section 3: Costume Voices, Costume Histories\u003c\/b\u003e   3.1.  The First Premiere and Other Stories: Towards a History of the Costume Design Profession in Finland - \u003cb\u003eJoanna Weckman \u003c\/b\u003e(independent post-doctoral costume researcher, exhibition curator, lecturer and costume designer, Finland) 3.2.  Spinning Yarns: Locating, Learning and Listening in the Social World of Popular Hindi Film Costume Production - \u003cb\u003eClare M. Wilkinson \u003c\/b\u003e(Washington State University, USA) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 3.3.  Hollywood Costume: A Journey to Curation - \u003cb\u003eDeborah Nadoolman Landis \u003c\/b\u003e(UCLA David C. Copley Center for Costume Design, USA) 3.4.  ‘The Getting of Wisdom’: Learning from Anna Senior - \u003cb\u003eJennifer Gall \u003c\/b\u003e(National Film and Sound Archive of Australia) 3.5.  Design for TV: Costume and Contemporary Clothing - \u003cb\u003eChrisi Karvonides-Dushenko \u003c\/b\u003e(costume designer in theatre, film and television, USA)  \u003cb\u003eSection 4: Costume and the Body\u003c\/b\u003e  4.1.  The Body as the Matter of Costume: a Phenomenological Practice - \u003cb\u003eDonatella Barbieri \u003c\/b\u003e(London College of Fashion, University of the Arts London, UK) 4.2.  The Body as Site: Interdisciplinary Approaches to Dress in\/as Performance - \u003cb\u003eJessica Bugg \u003c\/b\u003e(London College of Fashion, University of the Arts London, UK) 4.3.  ‘Aware Wearing’ - a Somatic Costume Design Methodology for Performance - \u003cb\u003eSally E. Dean \u003c\/b\u003e(interdisciplinary choreographer, performer, teacher and somatic practitioner, Europe, Asia and USA) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 4.4.  Costuming the Foot: a Designer\/Performer’s Personal Artistic Methods - \u003cb\u003eAlexandra Murray-Leslie \u003c\/b\u003e(artist, researcher, performer and co-founder of the international art collective Chicks on Speed, Australia) 4.5.  Costume and the Modernist Body: Fashioning August Strindberg - \u003cb\u003eViveka Kjellmer \u003c\/b\u003e(University of Gothenburg, Sweden)  \u003cb\u003eSection 5: Costume and its Collaborative Work\u003c\/b\u003e  5.1.  Building Costumes, Building Language in the Costume Workshop - \u003cb\u003eMadeline Taylor \u003c\/b\u003e(Queensland University of Technology and University of Melbourne, Australia) 5.2.  Fitting Threads: Embodied Conversations in the Costume Design Process - \u003cb\u003eSuzanne Osmond \u003c\/b\u003e(National Institute of Dramatic Art in Sydney, Australia) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 5.3.  Haptic Descriptions – Costume Design by Gillian Gallow and April Viczko - \u003cb\u003eNatalie Rewa \u003c\/b\u003e(Queen’s University, Canada) 5.4.  The Costume Designer´s ‘Golden List’ of Competence - \u003cb\u003eChristina Lindgren \u003c\/b\u003e(Oslo National Academy of the Arts (KHiO), Norway)  \u003cb\u003eSection 6: Costume and Social Impact\u003c\/b\u003e  6.1.  Exploring Rossini’s Berta: Young Audiences and the Agency of Opera Costume - \u003cb\u003eSofia Pantouvaki \u003c\/b\u003e(Aalto University, Finland) 6.2.  Designing Hospital Clown Costumes: Psychological and Social Benefits for Finnish Children’s Healthcare - \u003cb\u003eMerja Väisänen \u003c\/b\u003e(Aalto University, Finland) 6.3.  Costume of Conflict - \u003cb\u003eMateja Fajt \u003c\/b\u003e(independent costume designer and researcher, Slovenia) \u003cb\u003e\u003ci\u003eSnapshots\u003c\/i\u003e\u003c\/b\u003e 6.4.  From Effect to Affect: the Costumed Body and the Autistic Child - \u003cb\u003eMelissa Trimingham \u003c\/b\u003e(University  of Kent, UK) 6.5.  ‘Designing Tsunami’: Costume Evolution from Documentary to Surrealist - \u003cb\u003eMichiko Kitayama Skinner \u003c\/b\u003e(University of Miami, USA) 6.6.  The Collaborative Process of Costume Creation: Travesties in São Paulo - \u003cb\u003eFausto Viana \u003c\/b\u003e(São Paulo University (USP), Brazil)","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":48738588721495,"sku":"9781350098800","price":23.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781350098800.jpg?v=1720049570","url":"https:\/\/bookcurl.com\/products\/performance-costume-9781350098800","provider":"Book Curl","version":"1.0","type":"link"}