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The Language and Culture of Costume Design.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Language and Culture of Costume Design./
作者:	Le, Annie Julie.
面頁冊數:	1 online resource (11 pages)
附註:	Source: Masters Abstracts International, Volume: 57-05.
標題:	Theater. -
電子資源:	click for full text (PQDT)
ISBN:	9780355833270

The Language and Culture of Costume Design.
Le, Annie Julie.

The Language and Culture of Costume Design. - 1 online resource (11 pages)

Source: Masters Abstracts International, Volume: 57-05.

Thesis (M.F.A.)--University of California, San Diego, 2018.

Includes bibliographical references

When we think of language and culture, we often think of our ethnical background, along with the influences from our society, history, media and the people around us. However, through my years here at UCSD, I have learned that there is a different form of language and culture in Costume Design.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355833270Subjects--Topical Terms:

836732
Theater.
Index Terms--Genre/Form:

554714
Electronic books.

The Language and Culture of Costume Design.
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245 1 4 $a The Language and Culture of Costume Design.
264 0 $c 2018
300 $a 1 online resource (11 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
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500 $a Source: Masters Abstracts International, Volume: 57-05.
500 $a Includes supplementary digital materials.
500 $a Adviser: Judith Dolan.
502 $a Thesis (M.F.A.)--University of California, San Diego, 2018.
504 $a Includes bibliographical references
520 $a When we think of language and culture, we often think of our ethnical background, along with the influences from our society, history, media and the people around us. However, through my years here at UCSD, I have learned that there is a different form of language and culture in Costume Design.
520 $a Culture impacts how we think and language helps us communicate; both play a major part in us understanding one another. For each show that I worked on, I've had to learn a new language to speak to directors, actors, and costume technicians. The language that I am speaking of is not English, French, or Vietnamese but rather it pertains to the choice of words I use to communicate my design. For culture, as a costume designer, we are always balancing between pop culture and historical culture.
520 $a Kyle Donnelly's adaptation of Taming of the Shrew(d), the play was set in a post-apocalyptic world where a group of women put of plays in exchange for food and water. Donnelly was highly influenced by her environment when she pitched this idea -- requests in the department, politics, and the movie, Mad Max: Fury Road, which was very popular at the time. For the development of my design, I researched pop culture's different ideas of post-apocalyptic worlds as well as the history of American stereotypes in women's clothing and how it relates to their job (i.e. the waitress, the businesswoman, the stay-at-home mom).
520 $a In my pop culture research (film & television, modern art, comics, etc.), depictions of post-apocalypse worlds are often characterized by distressed clothing, dirt, make-shift weapons and recycling, which I used in my overall design. For each individual character's look, historical culture was a major influence -- the cut of a business suit jacket, the recognizable color and shape of a waitress uniform. Knowing both pop and historical culture helped me develop the language I needed to clearly convey my ideas.
520 $a To gain both the director's and actors' confidence, I had to educate myself and used terms they would understand by referencing things they are exposed to in their daily lives -- film, art, music. I also focused on character development -- the backstory, the mental and physical state, education and more. For example, Hannah Finn's character story was that before the apocalypse, she was a high school dropout working as a waitress at a diner in a small town. She was poor, uneducated but funny and loves to make jokes. She was at work when the apocalypse took place, which explains why she's still in her work uniform. Her character also wears a chest armor made from cans and uses a large ladle that has nails through it as a weapon (to mimic a mace), which was inspired by things she would have found in the diner kitchen. Both the director and the actor loved the visual and emotional story created for the character and understood the concept that I was going for.
520 $a When presenting to the costume shop, I introduced the general post-apocalyptic theme, however, instead of talking about each character's backstory, we spoke about construction, fit and function of each outfit. The language use when speaking to the shop is much more technical. I had to learn clothing and construction terminology -- such as raglan sleeve, a gather, a blind stitch, etc. -- to properly articulate my design. Using Finn's costume as an example again, with the technicians, we talked about the history of the style of the uniform and how it should fit, where wear and tear should be, how distressed it should look and how the can apron should be constructed to look like it was home-made. Costume vocabulary and details are very important when it comes to the construction. I was very specific when providing Finn's actions in the play and the technicians offered solutions to some clothing restrictions she was experiencing, such as adding a gusset to the underarm area of the sleeve to give her more room to stretch her arms up. Without knowing the proper language, we would have had a harder time understanding the needs of the show...
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Theater. $2 swd $3 836732
655 7 $a Electronic books. $2 local $3 554714
690 $a 0465
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of California, San Diego. $b Theatre and Dance (Design). $3 1187789
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10752191 $z click for full text (PQDT)