"Ouvrage publié à l'occasionde l'exposition (...) présentée au Centre national du costume descène et de la scénographie, Moulins, du 7 avril au 16 septembre 2018."--P.[4].

"Et si la robe des princesses n'était pas toujours rose, et si la sorcière portait un joli tablier, et si les fées étaient de jeunes garçons… Sur les scènes des théâtres les héros des contes de fées changent souvent de costume. Parfois conformes aux illustrations des albums de notre enfance, ou encore aux images des dessins animés, les voici tour à tour semblables à l'original ou méconnaissables, habillés à la dernière mode, élégants ou déjantés, en noir et blanc ou éclatants d'une débauche de couleurs.
Tous les costumiers le disent, se replonger dans les contes est pour eux un délice, laisser courir leur imagination un plaisir, et cela se voit dans leurs maquettes comme dans les réalisations des ateliers de couture.
Depuis plus de trois siècles Charles Perrault fait rêver des générations entières sur les robes de Peau d'âne, voici comment le théâtre, de tous temps grand pourvoyeur des rêves, habille aujourd'hui les contes de fées."--P.[4] de la couv.

Comprend une bibliographie.[-]

" Even though costume has been dressing the performing body since the ancien world, methods for its analysis are yet to be full explored. "Performance costume" draws on the experience of internatinally renowned academic researchers and hands-on theatre, film and experimental performance pratitioners to set out analternative vision for exploring costume across time and place. From the actress on the Victorian stage to deseign for high quality contemporary TV, this text opens up a awarness and dignity for costume to be considered in and its own terms.

Recent research has connected the study of costume with theories of the body and embodiment, desing practices ans artistic and other forms of collaboration in vital new ways; like fashion and dress, costume is now viewed as an area dynamic social significance and not simply as a passiver reflector of a preconceived social state or practice. Offering new approaches to research on costume, and exploring a wide variety of cultures, settings and performance contexts, " Performance Costume" reveals fresh insights into insights into the better-known frames of historical, theoretical, practuce-based and archival into costume for performance, and considers it as an active agent for performance-making and a material embodiment of ideas shaped through collaborative creative work.

A genuinely groundbreaking expansion of the field of costume studies, this is an invaluable text for students and researchers of costume, performance, theatre and film studies and design." 4e de couverture

Contents

- Foreword from Maija Pekkanen and Simona Rybáková

- Introduction : Activating Costume : A New Approach to Costume for Performance / Sofia Pantouvaki and Peter McNeil

Section 1 : Interpreting and Curating Costume
1.1 - Real or Virtual ? Studying Historical Costume Drawings and Sketches / Margaret Mitchell
1.2 - Cooking : Studying Film Costume Design / Drake Stutesman
1.3 - Displaying Stage Costumes : Exhibitions at the National Center for Stage Costume, France / Delphine Pinasa
1.4 - Cross-Culturak Costume Research : Beijing Opera Costume / Alexandra B. Bonds
1.5 - Reading Maltese Canival Costumes / Vicki Ann Cremona
1.6 - Curating Costume : Reflection / Aoife Monks

Section 2 : Personalities in Costume
2.1 - Costume Centre STage : Re-membering Allen Terry (1847-1928) / Veronica Isaac
2.2 - 'On and Off the Stage' Costume, Dress and locating the Actor-Manager's Identity, 1870-1900 / Helen Margaret Walter
2.3 - Extravagance, Expense and Notoriety in Costume : Gaby Deskys and Parisian Modernity on the American Stage, 1911-14
2.4 - A Foreign Affair On and Off Screen / Christina M. Johnson
2.5 - Recording Costume Design in the Theatre and Parformance Collections at the V&A : Vivien Leigh and Oliver Messel / Keith Lodwick

Section 3 : Costume Voices, Costume histories
3.1 - The First Premiere and Other Stories : Towards a History of the Costume Design Profession in Finland / Joanna Weckman
3.2 - Spinning Yarns : Locating, Learning and Listening in the Social World of Popular Hindi Film Costume Production / Clare M. Wilkinson
3.3 - Hollywood Costume : A Journey to Curation / Deborah Nadoolman Landis
3.4 - 'The Gatting of Wisdom' : Learning from Anna Senior / Jennifer Gall
3.5 - Design for Television : Costume and Contemporary Clothing / Chrisi Karvonides-Dushenko

Section 4 : Costume and the Body
4.1 - The Body as the Matter of Costume : A Phenomenological Practice / Donatella Berbieri
4.2 - The Body as Site : Interdisciplinary Approches to Dress in/as Performance / Jessica Bugg
4.3 - 'Aware-Wearing' : A somatic Costume Design Methodology for Performance / Sally E. Dean
4.4 - Costuming the Foot : A Designer/Performer's Personal Artistic Methods / Alexandra Murray-Leslie
4.5 - Costume and the Mondernist Body : Fashioning August Strindberg / Viveka Kjellmer

Section 5 : Costume and Collaborative Work
5.1 - Building Costumes, Building Langage in the Costume Design Process / Madeline Taylor
5.2 - Fitting Threads : Embodied Conversations in the Costume Design Process / Suzanne Osmond
5.3 - Haptic Descriptions : Costume Design by Gillian Gallow and April Viczko / Natalie Rewa
5.4 - The Costume Designer's 'Golden List' of Competence / Christina Lindgren

Section 6 : Costume and Social Impact
6.1 - Exploring Rossini's Berta : Young Audiences and the Agency of Opera Costume / Sofia Pantouvaki
6.2 - Designing Hospital Clown Costumes : Psychological and Social Benefits for Finnish Children's Healthcare / Merja Väisänen
6.3 - Costume of Conflict / Mateja Fajt
6.4 - From Effect to Affect : The Costumed Body and the Autistic Child / Melissa Trimingham
6.5 - Designign Tsunami : Costume Evolution from Documentary to Surrealist / Michiko Kitayama Skinner
6.6 - The Collaborative Process of Costume Creatin : Tavestis in São Paulo / Fausto Viana

Index[-]

" Voici contée la toute première et grande histoire illustrée des vêtements à travers le monde!

Depuis la Préhistoire jusqu'à nos jours, que se soit pour se protéger du froid, montrer sa richesse, affirmer sa personnalité ou encore exprimer ses goûts et son humeur, les vêtements ne se choisissent pas au hasard. Parler de mode, de sapes ou encore de fringues c'est évoquer les étoffes, la soie, le coton bien sûr mais c'est aussi et surtout raconter l'histoire de ceux qui les portent à travers les âges et à travers le monde : des pagnes égyptiens aux toges romaines, des braies gauloises aux robes à panier de Marie-Antoinette ou aux gigantesques fraises de la Renaissance... " 4e de couverture[-]

«YOU, THE CHOREOGRAPHER, Creating and Crafting Dance offers a synthesis of histories, theories, philosophies, and creative practices across diverse genres of concert dance choreography. The book is designed for readers at every stage of creative development who seek to refine their artistic sensibility.
Through a review of major milestones in the field, including contributions to choreography from the humanities, arts, and modern sciences, readers will gain new perspectives on the historical development of choreography. Concise analyses of traditional fundamentals and innovative practices of dance construction, artistic research methods, and approaches to artistic collaboration offer readers new tools to build creative habits and expand their choreographic proficiencies.
For learners and educators, this is a textbook. For emerging professionals, it is a professional-development tool. For established professionals, it is a companion handbook that reinvigorates inspiration. To all readers it offers a cumulative, systematic understanding of the art of dance making, with a wealth of cross-disciplinary references to create a dynamic map of creative practices in choreography.» 4e de couverture

Contents
Book 1 : Time travel : Choreographing through the ages
1- Stone Age : The dawn of dance - Choreographing Ritual
2- Acien Age : Gods and Muses in Motion - Choreographing Art
3- Medieval Age : Leaping into Groupe Identity - Choreographing symbol
4- Renaissance and Baroque Age : Walting Kingdoms - Choreographing Culture
5- Industrial Age : Dancing the Self - Choreographing Expression
6- Information Age : Turning Against the Norm - Choreographing Experimentation
7- Integral Age : Conceiving Progressive Coherency - Choreographin Integration

Book 2 : Mind and Muscle : the Body, Intellect , and Creative Spirit
8- The Moving Body as a Work of Art - Corpus Cognitus
9- Dissection of a Glorious Mind - Inside the Brain of the Choreographer
10- Intuitive Craftmanship - Handling Perfect Imperfections

Book 3 : Concept and Context : Innovation, intentionality, and Individuality
11- Intentive Creativity - In Art, Everything is Possible
12- Framing Content and Sorting Concepts - Logistics of the Unlimited
13- Choreographic Individuality and Artistic Identity - The Search for Who I Am

Book 4 : Form and Formlessness : Generating Movement Material
14- The emmergence of Movement - First Crawl and Walk, Then Run
15- Dance improvisation : Embracing Choreographic Adventures
16- Choreographic Phrase - Diving into the Movement Flow

Book 5 : Process and progress : Developing Movement Material
17- Choreographic Devices and Operations - Growing a Dance Garden
18- Structure and Restructure, construct and Deconstruct - Architeching a Dance
19- Physical Dramaturgy - Making a Monument out of Movement

Book 6 : Sonic Swing : Dance the music, Music the Dance
20- Melody in Motion - Are Music and Dance Best Friend Forever ?
21- Attract and Retract - Seeking, Choosing, and Working with Music
22- Body of Sound - Dancing Silence, Noisem Soundscape, and Spoken Word

Book 7: Picture Perfect : Venture Follow Vision
23- Nurturind Semantics - Naming a Newborn Dance and Raising a Brand
24- Piecing a Production Together - Think Costumes, Lights and Scenic Desing
25- Career in Choreography - Dancing Decisions Moving Forward

Index and Biographies[-]

"Le Centre collégial de développement de matériel didactique a apporté un soutien pédagogique et financier à la réalisation de cet ouvrage" -- P. de titre.

"Pourquoi se vêtir et se parer? Quelles fonctions a-t-on prêtées, dans l'histoire, aux vêtements et aux parures? Comment se fait-il que le phénomène de la mode ait historiquement pris naissance en Europe? Quelles conditions prévalaient à la fin du Moyen Âge pour en favoriser l'émergence? Voilà autant de questions sur lesquelles l'auteure se penche dans ‘Du costume à la mode – Antiquité, Moyen Âge, Renaissance'. Avec un souci toujours présent de bien montrer dans quel contexte géographique, historique, social, religieux, économique et artistique est apparu un costume, l'auteure analyse de façon soutenue les différents facteurs qui en ont influencé l'évolution. De nombreuses illustrations et des exemples empruntés à la grande comme à la petite histoire viennent agrémenter l'ouvrage, de même qu'un encart couleur de 16 pages dans lequel sont présentés une quarantaine de costumes et de parures d'époque. Destiné aux cégépiens inscrits dans les programmes de mode, ‘Du costume à la mode' intéressera aussi tous les gens fascinés par le vêtement." -- P. [4] de la couv.

Comprend une bibliographie.
Comprend un index.[-]