Now Available Online - CTR 152 / FALL 2012 "Costumes and Costuming"

[Greenwood, Audrey]

Now Available online<http://utpjournals.metapress.com/content/h5259186152n/>
CTR 152 / Fall 2012<http://utpjournals.metapress.com/content/h5259186152n/>
Costumes and Costuming<http://utpjournals.metapress.com/content/h5259186152n/>
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.


This issue contains:
François Barbeau: Research on Materials<http://utpjournals.metapress.com/content/b34027q76r330144/?p=34d76c7c213a470d98a8840edbe58418&pi=0>
François Barbeau
Abstract

François Barbeau with Louise Campeau and Andrée Lemieux present his exploration and creation of designerly languages for the costumes for Cirque du Soleil.
DOI:10.3138/ctr.152.barbeau1
Costumes and Costuming: Defining Current Performance Strategies<http://utpjournals.metapress.com/content/0523w540011680h0/?p=34d76c7c213a470d98a8840edbe58418&pi=1>
Natalie Rewa
DOI:10.3138/ctr.152.3
Negotiating Tensions betwixt Presence and Absence amidst a Big Sadness: Cultural Reclamation, Reinvention, and Costume Design1<http://utpjournals.metapress.com/content/9000g7123872n400/?p=34d76c7c213a470d98a8840edbe58418&pi=2>
Jill Carter
Abstract

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.
DOI:10.3138/ctr.152.5
The Spirit of Potentials: An Interview with Bretta Gerecke<http://utpjournals.metapress.com/content/10u484732n18p6l2/?p=34d76c7c213a470d98a8840edbe58418&pi=3>
Wes D. Pearce
Abstract

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": Frankenstein (2006), Nevermore (2009), and Hunchback (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.
DOI:10.3138/ctr.152.13
Making Mas: TruDynasty Carnival Takes Josephine Baker to the Caribbean Carnival<http://utpjournals.metapress.com/content/942828j1x1301066/?p=34d76c7c213a470d98a8840edbe58418&pi=4>
Jacqueline Taucar
Abstract

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.
DOI:10.3138/ctr.152.19
For Show Only-No Performers!<http://utpjournals.metapress.com/content/0rr4m3335k8606r7/?p=34d76c7c213a470d98a8840edbe58418&pi=5>
Jerrard Smith and Diana Smith
Abstract

Designers Jerrard and Diana Smith reflect on their collaboration with R. Murray Schafer on the complete Patria Cycle 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.
DOI:10.3138/ctr.152.25
"The first time I put on a Maggie Smith ...": The Role of Costuming in the Artistic Process of Actresses at the Stratford Shakespeare Festival1<http://utpjournals.metapress.com/content/97w02r63054g0753/?p=34d76c7c213a470d98a8840edbe58418&pi=6>
Sara Topham and Marlis Schweitzer
Abstract

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.
DOI:10.3138/ctr.152.32
UBU at the Museum-Imaginary Travels through the World of Jean Paul Gaultier<http://utpjournals.metapress.com/content/0r2115kpg6723861/?p=34d76c7c213a470d98a8840edbe58418&pi=7>
Stéphanie Jasmin and Neil Kroetsch
Abstract

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."
DOI:10.3138/ctr.152.38
The "Stuff" That Games Are Made Of: Sharon E. Secord's Work for the Vancouver 2010 Olympic Opening and Closing Ceremonies<http://utpjournals.metapress.com/content/98p221w822447158/?p=34d76c7c213a470d98a8840edbe58418&pi=8>
Sasha Kovacs and Sharon E. Secord
Abstract

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.
DOI:10.3138/ctr.152.44
Peeking through the Racks: Shedding Light on Working Conditions of Costume Designers<http://utpjournals.metapress.com/content/t7506261592j35k8/?p=34d76c7c213a470d98a8840edbe58418&pi=9>
April Viczko
Abstract

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.
DOI:10.3138/ctr.152.50
François Barbeau: An Inspiration to Costume Designers<http://utpjournals.metapress.com/content/k4362v3235m74r43/?p=57a19ee884ee451f8b7aabd0a91978e7&pi=10>
Andrée Lemieux
Abstract

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.
DOI:10.3138/ctr.152.57
Views and Reviews<http://utpjournals.metapress.com/content/c127t1657un765tm/?p=57a19ee884ee451f8b7aabd0a91978e7&pi=11>
DOI:10.3138/ctr.152.61


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