Abstract This paper discusses four different productions of "Othello" and examines whether the costumes in each production adequately reflect the personalities of each of the characters and the era in which they lived.
From the Paper "Designing costumes for Othello, in whatever form--play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona has to be understandable in the context of her own time, and of ours. While it may have been usual then for a woman to trust even when reason would tell her not to, it isn?t so today."
Abstract This paper analyzes Rembrandt van Rijn's 1630 portrait entitled "An Old Man in Military Costume." The paper describes the painting and also describes how the representation of the individual painted differs from other paintings of the same person. The paper then describes how the painting could influence the creation of a film on the Dutch struggle for independence combined with a biography of Rembrandt's life.
From the Paper "This might be one way to render the form, the visual structure, and the meaning of the work into a film. One could begin a film, for example, on the Dutch struggle for independence combined with a biography of Rembrandt's life by opening up with a shot of a perched ostrich plume, as the credits rolled by. The film camera, after the credits had finished would pan down to show the face of the old man. Suddenly, the man would come alive. As the film transformed the image of the painting into the face of an actor portraying the living subject, sitting for Rembrandt's portrait in a studio, gradually the soundtrack would start to roar with the sounds of soldiers marching in battle. The camera, still focused on the living poser for his portrait would show the face of the man suddenly become young again."
Abstract The paper decribes both Welsh and Bulgarian costumes and their similarities and differences. The paper discusses how the color and design of a woman's dress in Bulgaria gives her a local identity, as well as a national one, while the dress of a Welsh woman may identify her as a nationalist, and one who identifies with a period of history when Welsh culture was being revived and recreated.
From the Paper "Traditional costume serves many functions, and in the past has been used both as decoration, and as a national inspiration. Bulgarian costume, for example which developed in the middle ages, has used its national costume for both folk festivals, the one at Koprivshtitsa for example (Eliznik, 2005), and also as a symbol of its struggles for independence: the fashion for Chernodreshna, a particular kind of male costume, "Was the result of the new social, economic, and cultural context." (Omda, 2007). Wales, in comparison, came relatively late to traditional costume, the dress which is associated with Wales only being developed in the mid-nineteenth century. Later on, it became a symbol of Welsh nationalism: "Wearing a costume enabled people to declare their national identity in a period when it was under threat" (Winter, 2006)"
Tags: culture, identity, clothing, dress, style, color
Abstract This is an African art history paper discussing the elaborately decorated costumes worn by the Yoruba tribes of Nigeria. These costumes are worn during Egungun festivals, which honor death and ancestors. The religious beliefs and traditions behind the costumes & ceremonies are discussed. Additionally, detail is given to describing these costumes, which offer a great example of an ancient, African artistic tradition still surviving today.
From the Paper "Egungun masquerader costumes are worn by the Yoruba people during Egungun festivals and hold great cultural importance. These costumes and the festival they are worn during are both fascinating and interesting to learn about. The costumes are multicolored and detailed, with an intricate pattern that a viewer can study and enjoy for long periods of time. When worn during a performance, the fabric of the costume flies out, appearing lively and vibrant. This makes the Egungun masquerade costumes both visually appealing and intriguing to learn about."
Abstract This paper shows how dress and costume is crucial to the promotion of the central themes and intentions of the film, "Psycho". The paper examines how, not only do the costumes used add to the atmosphere and realism of the movie, but also how the costumes are essential in terms of the final impact and meaning of the film. The paper explains that when the character of Norman Bates dresses as his mother, it is a complete transgression of normalcy and is diametrically opposed to the mundane costumes worn by the rest of the cast. The paper concludes that this contrast serves not only to heighten the horror and shock aspects of the film, but also functions to highlight and to provide insight into the twisted mind of Bates.
From the Paper "The image of Bates acting out a series of murders dictated by his own mind while dressed as his own mother is made visceral and horrifyingly tangible by the actual incongruity of the man in an ill - fitting and inappropriate dress. The costume that Bates wears is purposely mismatched in relation to his angular figure and creates a compelling physical image. There are also subtle touches in the way that Hitchcock chooses elements of the costume. For instance, the script make reference to the fact that he wears a "cheap" wig, which tends to direct our attention to the pathetic and deranged nature of his psychosis."
Abstract Theoni V. Aldredge is considered one of America's most gifted costume designers. To date, her stage credits have included "I Can get It For You Wholesale," "Mr. President," "Anyone can Whistle," "A Chorus Line," "Annie," "42nd Street," "Dreamgirls," "Chess," and "The Secret Garden." When designing costumes for a period piece, it is not unusual for Aldredge to alter original fashions to make her designs more palatable for modern audiences. To determine how Aldredge achieves this goal, this paper provides a background and overview of the designer, followed by relevant biographical information. A discussion concerning Aldredge's alteration of original fashions for contemporary audiences is followed by a summary of the research in the conclusion.
From the Paper Theoni V. Aldredge was born Theoni Athanasiou Vachilioti in Salonika, Greece on August 22, 1932 (Brennan 2004). Aldredge was educated at the American School in Athens and then at the Goodman School of Drama in Chicago. In fact, when it comes to incorporating color into her designs, Aldredge reports that she has a passion for pale lavender: "I use it in every show, often with pale blue and white. These are the colors of my country" (Lampert-Greaux 2002:38). She has designed extensively for stage and film as can be seen from a sampling of her productions at Appendix A. Aldredge's first professional designs were created over a half century ago for the Goodman Theatre in 1950 (Owen 1987). In 1957, Aldredge moved to New York City where she established a long association with Joseph Papp and the New York Shakespeare Festival. Since that time, in New York alone, she had designed over 165 shows by 1987 (Owen 1987)."
Abstract This paper provides an in-depth look at the style of clothing worn during the times of Queen Elizabeth I. The author discusses the costumes worn by royalty, the royal court, aristocrats and nobility, from undergarments to gowns. The paper contains numerous portraits to illustrate the fashions.
From the Paper "It is undisputed that the Elizabethans were a very interesting, if not puzzling group. It is apparent that many of the customs, rituals and even colloquial speech that are used today descend directly from their time. One of the most interesting aspects of the Elizabethans is their dress. Clothing played a big role in their society, much like it does in present day. Through someone's dress, a person could tell not only their sex, but their precise social position. An Earl, for example would dress better than a Baron. This was especially important in the theatres of the time. Theaters would seat upwards of 2000 people, so in many of instances the audience would need to see the costume of the actor in order to place him in his proper social position, and therefore where he fit into the narrative of the performance. No person's clothing, however, was more elaborate or telling than that of high standing royalty, such as Queen Elizabeth I and those close to her."
Abstract This is an in-depth review of a production of the play "Equus." It looks at every element involved in the production and execution of the play from the lighting, stage design, costumes, up to and including the level of the acting itself.
From the Paper "The cold feeling was even emphasized by the actors. The actor that played Alan several times in the show wrapped his arms tightly against his body and rubbed them, like people do when they are cold. Alan's father Frank Strang did a very good job seeming impersonal and distant to all of the other actors he encountered. The actors over all did a fairly good job, although in the beginning they did drop several lines. I was impressed at how well the actors in the horse costumes portrayed real horses. A horse tends to be moving a lot but with only subtle movements, and the actors did just that. It was also a great idea, in my opinion, to have cast come out of the audience because it in essence, bring the audience into the show. "
Abstract The paper analyzes the play "Hedda Gabler" of the Norwegian author Ibsen, and is one of the most celebrated works of the postmodern literature. This paper focuses on the title character Hedda Gabler and her aristocratic ways. It includes a synopsis of the play and a description of costuming and stage design.
From the Paper "Hedda Gabler is the Norwegian author Ibsen's one of the most celebrated works of the postmodern literature. Originally, the play had been intended for stage. Therefore in personal opinion, a stage production would not only retain the original flavor but also bring out the best. This production aims to highlight the underlying themes through a focus on costumes as outward manifestations of personality of the characters."
Abstract Ben Jonson's "Volpone", first performed in London in 1605, was a highly successful play centering on the theme of greed. The paper shows that "Volpone" is particularly notable for Jonson's characters? use of disguise, costume and role playing both to advance the action of the story and to visually express Jonson's ethical beliefs to educate his audience. The paper analyzes the different methods of disguise througout the play.
From the Paper "Beyond the clues offered by their names, the characters in Volpone engage in role playing throughout the play. None shifts personality and character more influentially than the title character. Driven by his greed and by his love for trickery, Volpone chooses to play his game not with easily-duped victims, but rather with others like himself. Thus, while pretending to be ill for several years, with the community's knowledge that he has no heir, Volpone accepts the good wishes and gifts of his colleagues, who offer these in the hope that they will gain Volpone's goodwill for the giver. Mosca's task is to convince Volpone's acquaintances that, upon his supposedly-imminent demise, the Fox will leave all of his wealth to one or another of these would-be friends. Voltore, Corbaccio and Corvino in turn are all convinced that Volpone has named each of them as his sole heir."
Abstract This paper examines in how the film version, director Kenneth Branagh takes viewers into a far different Messina than what is generally interpreted from the play's text. From the costumes to the background settings, from the addition of scenes to the emphasis on certain characters, Branagh reserves his right to interpret "Much Ado About Nothing" as he sees fit. This paper sorts through these differences and outlines and details the logic and reasoning behind Branagh's actions.
From the Paper "Film direction and production of plays allows the viewer to see with their own eyes the relationships between characters, the focus of the themes, and the other aspects of plays such as costumes, the representations of the players, and so forth. In other words,the viewers are given the opportunity to let their imagination and curiosity come to fruition. When I read a play I try to visualize what I am reading and really explore my imagination to see the action as it is occurring in my mind. Often times however, my imagination is shattered somewhat when I see the film production. Such is the case with Branagh's "Much Ado About Nothing". "
Abstract This paper compares styles of acting, editing, design, costumes, and camera work in Laurence Olivier's Hamlet, Orson Welles' Chimes at Midnight, and Akira Kurosawa's Throne of Blood. The author considers how the performances differ, what the overall style of each of the directors is, and how they illuminated the tricky challenges of transferring language intended for the stage. The author also discusses how these elements contributed to the success of the films.
Abstract It emphasizes the influence of Queen Victoria's 40-year mourning period for Prince Albert, and goes into the social psychology of the veil, as well as the color black. The paper concentrates on women's mourning garb, but also mentions the fact that men's mourning clothing was not that different from their usual formal attire.
Abstract Many of the ideals that we hold politically, religiously, and philosophically have at least part of their roots in ancient Greece. In accordance with the value of beauty in form and the idealizing of character (depicted by the Greek Gods and Goddesses), Greece has been the home of many beautiful creations in dress as well as in the other arts. The climate of Greece had very much to do with the dress and costume of Ancient Greece.
