Stage Costumes Research Articles

The Analysis of Yunnan Ethnic Costume Elements in Children's Stage Costume—Taking Miao, Yi, Dai as an Example

Yunnan national traditional costume is the quintessence of Chinese culture, it is the crystallization of the wisdom of thousands of years of history in the creation of the working people during the production and practice, which embodies the Chinese nation and the spirit of the feelings. In the globalization of today, according to the Yunnan national tradition clothing's own law of development, combined with modern design concept of inheritance of ethnic culture in Yunnan, with extraordinary significance development of the national clothing. Firstly, by introducing Yunnan Miao, Yi, Dai ethnic culture, a better understanding of the characteristics of Yunnan minority costumes. Secondly, from the Yunnan national costume, color, pattern and process to detail their dress features. Once again, according to the characteristics of Yunnan ethnic costumes, ethnic costumes elements extraction, research and design about the different effects of the children's stage costume.

19世紀イギリスの舞台衣裳にみる「新しい女New Woman」:―『反逆するスーザンの事件』を中心に―

19世紀イギリスの舞台衣裳にみる「新しい女New Woman」:―『反逆するスーザンの事件』を中心に―

KAĞITLA YAPILAN GİYSİ TASARIMLARI

In the process of designing theatrical costumes, some new practices used in training enabled students to gain experience in stage costumes by changing the perspective of students for stage costumes. Paper costume applications we initiated for this purpose have gained the admiration of the audience by becoming a work that reflects the knowledge and skills of the students. In these studies that begin with certain techniques used by every designer at the beginning of the design process such as research, design, drawing, it is aimed to apply their own unique design by bringing different restrictions on the working group. Trying on the costumes on the tailor's models after drawing the mold technique, then the tailor’s technical try on with the nettle cloth is important for the accuracy and stability of the work; we began to do our practices with paper material directly to reduce the use of paper and fabric waste. When all the work that mainly paper material is used but sometimes different materials are used where necessary is considered as a whole, they can protect the cohesion and harmony that they create with each other. These works that we started in order to gain practical work, have been proper preparation for students who have not yet taken place in the preparation of stage costumes for theater to be able to see the difficulties. The experience gained with this work will be able to easily take advantage in costume workshop.

A Study on the Stage Costume Design about Feminism Play The Children's Hour

A Study on the Stage Costume Design about Feminism Play The Children's Hour

'미디어 어린이 영어뮤지컬 마술피리' 무대의상 디자인

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children`s English media musical, “The Magic Flute” is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of “The Magic Flute”, and a stage costume design and production stage for children`s English media musical, “The Magic Flute”, First, this study classified and analyzed the stage design and stage costume design of the existing “The Magic Flute” by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance`s stage costume and the characters` personality and features described in the current study subject”s script. As the last step of this study made each character”s stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for “The Magic Flute”.

The dancer at work: The aesthetic and politics of practice clothes and leotard costumes in ballet performance

Abstract This article focuses on the aesthetic implications innate to the introduction of tight-fitting rehearsal-style costume, a leotard, to the dance studio and stage. In ballet, the pared-down and subtle design of such costumes is found in many dance works from the twentieth century until today, including the ‘black and white ballets’ by George Balanchine, or ‘ballet-ballets’ by William Forsythe. These works are also considered plotless and seem to deter the viewer from the theatrical conventions of plot lines, characters and narratives. This article is concerned with that which is highlighted in such works: the dancer’s moving body and the leotard as a costume that particularly refers to the performer at work and in own cultural setting. The look into the relationship between the dancers and leotard as a costume type communicates important information about the performer’s work and their development of roles in such repertoire. The closer consideration of this relationship in reference to the aesthetic of practice-clothes ballet also discloses plenty about the artistic potentials in such choreography and performance, revealing how the use of leotard as a stage costume has both furthered and challenged some of ballet’s traditions and cultural conventions.

무대의상 연구의 동향 분석

Abstract This study examines research trends in the dissertations and journal articles on stage so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean St udies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the design of stage costume, costume for performing and et c. Theses and articles for the analyses were a total of 200 publ ished. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term . The findings of the study are as follows: According to the chronological analysis, there has been a ste ady increase in the rates of the musical, ballet, dance, and circus and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustrat ion and rendering of the costumes. In the recent of the performing arts show the tends o f the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of t he background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research pa pers utilized content analysis method, character analysis method as research methods. The most popular Corresponding author: Yi Kyonghwa, Tel. +82-2-2164-4329, Fax. +82-2-2164-4320 E-mail: ykh@catholic.ac.kr This work was supported by the Catholic University of Korea, Re search Fund, 2014.

19世紀末イギリスの舞台衣裳にみるNew Woman －『タンカレイの後妻』を中心に－

19世紀末イギリスの舞台衣裳にみるNew Woman －『タンカレイの後妻』を中心に－

Design Transforming Dress Based on Pneumatic Systems

Stage costume is one of the most important factors for accomplishing the actor’s character in the musical. When costume with electronic devices is directed in proper situation of play, the costume can be used for presentation equipment more (often? Effectively?) than the costume itself. Generally, light emitting materials (LED, EL Wire) are used to direct musical with costume. But those materials are difficult to be adapted depending on the lighting system in the theater and restricted in terms of expressing contents of the musical. On the other hand, this transforming dress was made to transform shape of the dress physically. In this case, it is possible to change the dress dramatically without being limited by the lighting system. However, there seem to be other restrictions such as the size and the weight of the equipment. On this paper, we suggest the production method of transforming dress with air tube and cylinder. Using this method, we use pneumatic cylinder as actuator for movement of frames while cloth bones form their shape.

호두까기 인형의 아동극 무대의상 디자인 연구

호두까기 인형의 아동극 무대의상 디자인 연구

CAD System을 활용한 무대의상 시뮬레이션에 관한 연구 (Utilizing DC Suite program)

The purpose of this study is to demonstrate the stage costumes realized by digital clothing ; how realistic and accurate representation of empirical testing and in the consultation process for the production stage costumes, determine whether digital clothing has value that can be substituted for the stage costume. This study researched the stage costume manufacture, Isabel`s costume of the musical `Christmas Carol`, process by using the 3-D clothing simulation technology : DC Suite. The results of this study is as following. They share many similarities between the stage costumes and digital clothing. It is possible that digital clothing takes a role as a substitute for stage costumes in the production process of the clothing samples. The clothing production system, including stage costumes, by digital clothing costs and lead time can be saved by innovative. Also the result can be saved without restriction, and this system can exert its effect in a very efficient way to incorporation of foreign producers and production system.

오페라 '마농 레스코(Manon Lescaut)'의 무대의상 디자인 비교연구

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play`s situation, the director`s style and the person`s character. Nevertheless the study regarding the opera`s costumes is not active, especially the comparative study on the same opera`s costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera`s costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume`s development.

“Cloud-Transcending Crossing” (“Lingyun Du”) or “The Great Revenge of Blue Snake” (“Qingshe da Eaochou”), the Second and Final Installment of a Chengdu Shadow Play Script, Thunder Peak Pagoda ( Leifeng Ta )

``CLOUD-TRANSCENDING CROSSING'' (``LINGYUN DU'') OR ``THE GREAT REVENGE OF BLUE SNAKE'' (``QINGSHE DA BAOCHOU''), THE SECOND AND FINAL INSTALLMENT OF A CHENGDU SHADOW PLAY SCRIPT, THUNDER PEAK PAGODA (LEIFENG TA) FAN PEN CHEN State University of New York, Albany1 Translated below is the second of two installments (ben ,) of a most unusual version of the White Snake (Baishe }Ç) legend that comes from the shadow theater (piying xi ®q2) tradition of Chengdu, Sichuan. Although the whole play goes by a title, Thunder Peak Pagoda (Leifeng ta ÷ðT), that was used for versions of the story that tell how White Snake ended up under that pagoda as well as what happened afterward, this version of Thunder Peak Pagoda instead deals only with events after her con®nement under the pagoda. In the ®rst installment, White Snake's companion, Little Blue (Xiaoqing R),2 subdues a new character, Little Red (Xiaohong ), with whom she storms the Buddha's Western Paradise to exact revenge for White Snake in the second installment. The second installment of the play, which is also known under the titles of ``Cloud-Transcending Crossing'' (``Lingyun du'' Ìò!)3 and ``The Great Revenge of Blue Snake'' (``Qingshe da baochou'' RÇ'1Ç), is particularly intriguing because of the extended battle between the animal sprites (jing ¾)4 and Buddhist deities, the use of various ``sacred'' objects as weapons, the special effects, and the use of female 1 I would like to express my immense gratitude to the editor for his work on this article and to the anonymous reviewers for their valued comments. 2 Depending on context and usage, qing can refer to colors as varied as blue, green, or black. This is why the qing in the different forms of the White Snake's companion's name appear in English translation sometimes as ``blue'' and sometimes as ``green,'' and her stage costume can be either color. 3 Probably the most famous appearance of this crossing place (du !) across the river dividing the mortal world from the dwelling place of the Buddha is chapter 98 of the Ming novel, The Journey to the West (Xiyou ji 8), where only the Monkey King is willing to think about making the crossing and so the Tang Monk and his disciples end up getting ferried across the river. 4 Jing are animals (or sometimes plants or even things) who have, by dint of extended selfcultivation , attained magic powers, including the ability to take on human form. CHINOPERL: Journal of Chinese Oral and Performing Literature 32.1 (July 2013): 30±71 # The Permanent Conference on Chinese Oral and Performing Literatue, Inc. 2013 DOI: 10.1179/0193777413Z.0000000008 nudity as a weapon against Buddhist deities. It is because these features are of interest both in and of themselves and because of how they represent parts of the White Snake story not readily available elsewhere that this installment was chosen for translation here.5 Although all three of the snake spiritsÐWhite Snake, Blue Snake, and Red SnakeÐare defeated by the Buddhist forces, they are all also given the chance to gain enlightenment. Insofar as the tale demonstrates the subjugation of snake spirits by the Buddhist religion, this play also re¯ects the historical use of Buddhism to suppress snake deities and cults associated with them that proliferated among the native peoples of southern China. This introduction will explain the relationship between the snake spirits and Buddhist deities in the translated play through a discussion of the evolutions of both the legend of White Snake and the subjugation of snake cults. A synopsis of the ®rst installment of Thunder Peak Pagoda is also included. 5 The translation of the second installment below is based on the text given as an appendix to Jiang Yuxiang _‰e, Zhongguo yingxi - q2 (Chinese shadow theater; Chengdu: Sichuan renmin, 1992), pp. 315±30. The original of that text is described by Jiang (p. 330) as ``a manuscript produced from memory and edited'' (huiyi zhengli de chaoben Þ¶t„„,) by Chen Jiyu s|^, the sole surviving member at the time of the book's publication of Chunle yuan %, a famous shadow troupe in Chengdu during the 1920±1930s. Jiang says that Chen was over...

보가티료프(P. G. Bogatyryov)의 이론을 적용한 무대의상 연구 - 가면극 '소라별 이야기'를 중심으로 -

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

3D CAD System에 의한 무대의상 디자인개발 사례연구 - 친환경전통직물제품 패턴설계를 중심으로 -

This study develops a traditional green fabric pattern design through an apparel CAD system. The method used simulated stage costumes and evaluated the consumer satisfaction connected with a 3D fitting system. The results are as follows. Computerization of the pattern making process can provide higher accuracy and efficiency in apparel pattern making and marking for green fabrics. A Stage costumes design was developed; subsequently, the developed dress patterns are automatically depicted to the input of the body size of the consumer and marked using marking program. This results show that it has an effect on narrow and expensive green fabrics. Stage costumes design can make a simulation by a 3D Fitting system. The results of this study can provide higher consumer satisfaction through a survey of 30 consumers. Stage costumes should attract the sympathy of the spectators. The Acceptance of Andong region's traditional beauty is required. We found that a relationship of performance and clothes, physical functionality and beauty of costumes, possibility of commercialization, and the possible use of a 3D Fitting system use are evaluated. A continuous study of regional culture resources is required since there is a significant possibility for the long-term development of stage clothes.

창작 음악극의 무대의상 연구 - 국악칸타타 '나는 일어나리라'를 중심으로 -

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata 'I Will Rise'. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of 'I Will Rise' is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

패션 커뮤니케이션 매체로서의 패션 전시에 관한 연구 -2012 노라 노 ＜라 비 엥 로즈＞ 전시 사례를 중심으로-

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis exa- mines the messages, objects, and space of fashion exhibitions as fashion communication media as well as ana- lyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage de- signs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

창작 뮤지컬 '혜초'의 무대의상 연구 -코러스(Chorus)의상을 중심으로-

This study examines the stage costumes of the creative musical `Hyecho`, which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University`s performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical `Hyecho` presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea`s creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience`s eyes, but also not to interrupt actors` vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India`s traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

국내 무대의상 제작시스템 방법론 정립에 관한 연구 - 뮤지컬 '시카고'를 중심으로 -

Ever since the year 2000, Korea`s musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea`s musical market. The researcher participated in the stage costume making work of `Chicago` as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical `Chicago.` The results of this study were as follows. The stage costume making process of the musical `Chicago` was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical `Chicago.` The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

이중자아 이미지를 표현한 무대의상 디자인 개발 - 페르난도 아라발의 부조리극 '장엄한 예식' 무대의상을 중심으로 -

With entering the 21st century, modern people's dark inside and panic are emerging as the talking point on the theater stage. Even in the field of stage costume, the necessity of a research is being demanded through analyzing on psychological anguish and structure of characters. Accordingly, this study aims to allow the stage costume design to be expressed a human being's Doppelg<TEX>$\ddot{a}$</TEX>nger Image, which was elicited through analyzing a work of the play titled Le Grand C<TEX>$\acute{e}$</TEX>r<TEX>$\acute{e}$</TEX>monial by a playwriter Fernando Arrabal, who draws the conflictory and contradictory duplicity, which positions in a human being's deep inside by having chaos as catalyst. A research subject is 'Le Grand C<TEX>$\acute{e}$</TEX>r<TEX>$\acute{e}$</TEX>monial,' which was staged as the winter performance in commemoration of the 50th anniversary for the foundation of Dept. of Theater, Chung-Ang Univ. in November 2009. Psychology of characters in a play, which varies dimensionally, could be delivered, as nonverbal element called costume, by applying costume design of Cavanoza, Syl, Nice to Doppelg<TEX>$\ddot{a}$</TEX>nger Image such as Innocence vs Cruelty, Purity vs Superficiality and Restraint vs Freedom, which were elicited through analyzing characters. Through this study, the costume, which was expressed by visualizing a human being's Doppelg<TEX>$\ddot{a}$</TEX>nger Image, could be known to function as important dramatic factor of allowing character's psychology to be understood through costume as well as functioning as visual and sensible language, which is important for communication with the audience. A research on costume design, which reflects a character's complex inside, is expected to be likely continued through in-depth analysis on a playwriter's intention and on the appearing characters at the current point of time when an active research is being performed on stage costume in the wake of this study.