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<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><b><span style="font-size:12.0pt;color:#404040">Now Available online</span></b><span class="MsoHyperlink"><b><i><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/h5259186152n/"><o:p></o:p></a></span></i></b></span></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><span class="MsoHyperlink"><b><i><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/h5259186152n/">CTR<span style="font-style:normal"> </span><span style="font-style:normal">152
/ Fall 2012</span></a></span></i></b></span><b><span style="font-size:12.0pt"><br>
<a href="http://utpjournals.metapress.com/content/h5259186152n/">Costumes and Costuming</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal;text-autospace:none;vertical-align:baseline">
<span lang="EN-GB" style="font-size:12.0pt;color:black">Costumes are perhaps the least ephemeral element of a performance – how we come to think of them is the theme. This issue is unique as it features a portfolio of costume design research by François Barbeau,
rather than a script. Full colour images with remarks by Barbeau narrate aspects of his research of costume materials at the Cirque du Soleil Research and Development lab. The nine featured articles emphasize the designing, making, wearing, and exhibiting
of costumes. Interviews maintain ongoing dialogues with performance: design practice for First Nations performance; designing as collaborative dramaturgy; conceptualizing a Queen Mas for the Caribbean Carnival; wearing costumes at the Stratford Shakespeare
Festival; and creating and managing the costume wardrobe for the Vancouver Olympics. Alongside these interviews are reflections on the process of bringing costumes out of performance and into the exhibition hall, without replacing actors by mannequins. Notes
from the technological animation of the “catwalk” for Jean Paul Gaultier’s retrospective show affinities between performance and displays of fashion design. The issue is rounded out by advocacy to confront the status of designers in the contractual relations
of professional theatre in Canada.<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p style="margin-bottom:.25in"><span style="font-family:"Calibri","sans-serif"">This issue contains:
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/b34027q76r330144/?p=34d76c7c213a470d98a8840edbe58418&pi=0">François Barbeau: Research on Materials</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">François Barbeau</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">François Barbeau with Louise Campeau and Andrée Lemieux present his exploration and creation of designerly languages for the costumes for Cirque du
Soleil.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.barbeau1</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/0523w540011680h0/?p=34d76c7c213a470d98a8840edbe58418&pi=1">Costumes and Costuming: Defining Current Performance Strategies</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Natalie Rewa</span><br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.3</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/9000g7123872n400/?p=34d76c7c213a470d98a8840edbe58418&pi=2">Negotiating Tensions betwixt Presence and Absence amidst a Big Sadness: Cultural Reclamation, Reinvention, and Costume
Design<sup>1</sup></a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Jill Carter</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">A conversation with Cree Designer Erika Iserhoff about beauty, spectacle, and coming home. Carter and Iserhoff consider the responsibility of recovering,
carrying, and transmitting the material culture of other Indigenous nations upon whose stories she finds herself an artistic collaborator.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.5</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/10u484732n18p6l2/?p=34d76c7c213a470d98a8840edbe58418&pi=3">The Spirit of Potentials: An
<i>Interview</i> with Bretta Gerecke</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Wes D. Pearce<o:p></o:p></span></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Wes D. Pearce talks to award-winning and Siminovitch nominee Bretta Gerecke about her design process when working on productions for Edmonton's Catalyst
Theatre. The discussion focuses on how the highly original costumes were imagined and then “conjured into being” for the theatre's celebrated “cautionary Gothic monster trilogy”:
<i>Frankenstein</i> (2006), <i>Nevermore</i> (2009), and <i>Hunchback</i> (2011). Given the extraordinarily collaborative process that is the basis for all productions at Catalyst Theatre the interview then moves on to discussing how Gerecke has made the successful
transition designing for opera, which is not historically know for its collaborative nature.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.13</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/942828j1x1301066/?p=34d76c7c213a470d98a8840edbe58418&pi=4">Making Mas: TruDynasty Carnival Takes Josephine Baker to the Caribbean Carnival</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Jacqueline Taucar</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Over a million spectators descend on Lakeshore Avenue each year to watch Mas Bands create a kinaesthetic landscape of colour with elaborate costumes
as they parade in Toronto's Scotiabank Caribbean Carnival Festival. Despite the importance of costumes to carnival, Canadian scholarship of Toronto's Caribbean Carnival overlooks the material and aesthetic elements. However, by focusing upon the costume as
the subject of study, we can begin to evaluate and connect to the critical discourses surrounding Caribbean Carnival from another perspective that foregrounds the interconnectedness of objects to ideas and social practices. In particular, the design and performance
of TruDynasty Carnival's Queen Mas, “Josephine Dancing at the Market,” illustrates the role of re-imagining as a potential strategy of re-presenting Josephine Baker's historical and cultural body within a carnival(esque) aesthetic to be read and performed
in a new way for a Toronto audience.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.19</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/0rr4m3335k8606r7/?p=34d76c7c213a470d98a8840edbe58418&pi=5">For Show Only—No Performers!</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Jerrard Smith and Diana Smith</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Designers Jerrard and Diana Smith reflect on their collaboration with R. Murray Schafer on the complete
<i>Patria Cycle</i> since 1981. Their extreme design had to fit with Schafer's conceptions of both time of day and duration. Costumes had to withstand conditions of performance on lakes, in forests, in ravines and several international tours. In 2011 they mounted
exhibitions of the costumes and other artifacts from these productions at the Clarington Museum and Archives (Bowmanville, Ontario) and at Design at Riverside Gallery (Cambridge, Ontario). In this critical discussion they consider how their design can move
indoors and be appreciated by the spectators.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.25</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/97w02r63054g0753/?p=34d76c7c213a470d98a8840edbe58418&pi=6">“The first time I put on a Maggie Smith ...”: The Role of Costuming in the Artistic Process of Actresses at the Stratford
Shakespeare Festival<sup>1</sup></a></span></b><span style="font-size:12.0pt"> <br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Sara Topham and Marlis Schweitzer</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">This article investigates the role of costuming in the lives of actresses at the Stratford Shakespeare Festival. Although there have been numerous
sociological studies of the role of clothing in women's lives, few of these have examined the complex, shifting relationship that develops between actors and their costumes, from first sketch to fittings to opening night and beyond. Taking a cue from recent
investigations of how rehearsal environments and other offstage spaces affect theatre artists in unexpected, even surprising ways, this article weaves together three conversations with actresses from the Stratford Shakespeare Festival (Lucy Peacock, Andrea
Runge, Sara Topham) to better highlight the similarities as well as the differences in the three women's lived experiences.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.32</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/0r2115kpg6723861/?p=34d76c7c213a470d98a8840edbe58418&pi=7">UBU at the Museum—Imaginary Travels through the World of Jean Paul Gaultier</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Stéphanie Jasmin and Neil Kroetsch</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">The universe of Jean Paul Gaultier teems with forms and interminglings. Jasmin characterizes Gaultier as a free-spirited artist who draws his inspiration
from cinema, literature, the visual arts and music, as well as ethnic and street cultures. That openness and his boundless imagination provided Denis Marleau and Stéphanie Jasmin with extensive leeway in conceiving the dramatic framework for the mannequins.
They had already been fleshing out the characters before any writing was done, discovering photos of their garments and the theme of the fashion collection from which they hailed. Jasmin reflects, “The characters were already speaking to us, as it were. That
natural theatricality immediately exploded in all its splendour. One fundamental question we posed concerned that inherent emotional force of the mannequins, whether it was really necessary to dramatize them any further.”<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.38</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/98p221w822447158/?p=34d76c7c213a470d98a8840edbe58418&pi=8">The “Stuff” That Games Are Made Of: Sharon E. Secord’s Work for the Vancouver 2010 Olympic Opening and Closing Ceremonies</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Sasha Kovacs and Sharon E. Secord</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">This interview with Sharon E. Secord (Head of Wardrobe for the Opening, Victory, and Closing Ceremonies of the 2010 Vancouver Olympic Games) took
place on the two-year anniversary of her participation in the event (12 February 2012). The article presents excerpts that have been edited and reorganized with an effort to develop a vocabulary for what Sharon articulates as the “stuff” of her work. Three
broad categories related to the labour conditions of Secord's efforts (contracts, space, and collaboration) take the focus in this conversation, and mark an attempt to shift scholarly emphasis away from the aesthetic artifact and towards the development of
a language that can discuss the politics implicit in the means of producing large-scale events like the Olympic ceremonies.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.44</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/t7506261592j35k8/?p=34d76c7c213a470d98a8840edbe58418&pi=9">Peeking through the Racks: Shedding Light on Working Conditions of Costume Designers</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">April Viczko</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">This article takes a look at challenges facing costume designers with particular attention focused on the working conditions of designers. Along the
way, technical support, relationships with producers, and fee structures are examined.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.50</span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/k4362v3235m74r43/?p=57a19ee884ee451f8b7aabd0a91978e7&pi=10">François Barbeau: An Inspiration to Costume Designers</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#254061;mso-style-textfill-fill-color:#254061;mso-style-textfill-fill-alpha:100.0%">Andrée Lemieux</span><o:p></o:p></span></p>
<h2 style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:12.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:12.0pt;font-family:"Calibri","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">During the 11th edition of the Prague Quadrennial of Performance Art and Space, APASQ paid tribute to François Barbeau, Canadian costume designer.
During his long and prolific career, Barbeau has designed for all eras and addressed all genres, from the simplest to the most eccentric. This article presents his vision of theatre costumes and his research on materials. His collaboration with Cirque du Soleil
enabled him to further his research on sublimation printing, both in the shows Dralion and Wintuk and as consulting designer with the research laboratory integrated into the Direction des unités de création costumes et accessoires (DUCCA). The article also
explains the choices that guided scenographer Louise Campeau and guest curator Andrée Lemieux in organizing the exhibition presented in Canada's kiosk at the 2011 Quadrennial.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.57</span><o:p></o:p></span></p>
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<b><span style="font-size:12.0pt"><a href="http://utpjournals.metapress.com/content/c127t1657un765tm/?p=57a19ee884ee451f8b7aabd0a91978e7&pi=11">Views and Reviews</a></span></b><span style="font-size:12.0pt"><br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.152.61</span><o:p></o:p></span></p>
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