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- Bågander, Linnea, 1986-
(författare)
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Cuttlefish : performing body
- 2020
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 5:2, s. 257-273
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Tidskriftsartikel (refereegranskat)abstract
- This research report discusses and reflects on the development of the costumedesign and choreography of the performance piece Cuttlefish, 2017–19. In theperformance, the costumes played an essential role as they completely transformedthe movements and forms of the dancers. To enable this, costumes were designed astemporal forms, garments that contain a particular movement language based onthe structural possibilities of the body. The costumes are discussed here from twoperspectives: in relation to their role in constructing a narrative for the audience,choreographer and dancers and secondly concerning the practical aspects of theirdevelopment as temporal forms. The suggestion is that garments constitute materialopportunities, designed to provide a system of possible movements and expressionsthat the choreographer and dancer can explore. The result has implicationsfor both fields of fashion design and costume design as it proposes fundamentalparameters for a method of constructing garment as temporal form.
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| 2. |
- Bågander, Linnea
(författare)
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homo(sapiens) : Designing raw and defined material opportunities
- 2023
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Ingår i: Studies in Costume & Performance. - 2052-4013 .- 2052-4021. ; 8:2, s. 263-278
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Tidskriftsartikel (refereegranskat)abstract
- This research report reflects on the development of the costume design and choreography of homo(sapiens), a performance piece developed and staged between 2020 and 2022. Materials and costumes played an essential role in the performance, generating the narrative by somatically ‘speaking’ to the wearer. Two categories of somatically choreographic materials were defined through the work: ‘raw material opportunities’ based on the inherent capability of materials to inspire and create movement and form, and ‘defined material opportunities’ in which costumes were designed and formed with a choreography or movement language in mind. Comprehending these two approaches is crucial, as each design method offers, and requires, different choreographic and dramaturgical methods when integrated in a stage-based work.
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| 3. |
- Kjellmer, Viveka, 1964
(författare)
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Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915–18).
- 2019
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Tidskriftsartikel (refereegranskat)abstract
- In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915–18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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| 4. |
- Kjellmer, Viveka, 1964
(författare)
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Materializing virtual reality: The performativity of skin, body and costume in Tobias Bernstrup’s artwork
- 2016
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Ingår i: Studies in Costume and Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 1:2, s. 151-161
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Tidskriftsartikel (refereegranskat)abstract
- Swedish artist Tobias Bernstrup (b. 1970) works with multimedia, music, performance, video and computer games. He creates fictional alter egos in his works and returns to his characters in an ongoing re-mediation, digitally or in real-world artistic performances. In explicit stage costumes made of latex, leather and metal, Bernstrup performs in the interface between digital character, human being and artwork. The costume becomes a bearer of physical experiences, a bridge between the portrayed and the perceived. Through our gaze, bodily experiences are transferred in the form of embodied knowledge or haptic vision. Materiality conveys meaning and communicates with our tactile memory through glossy latex, cold metal or bare skin. The costume is a paradoxical entity: both an inseparable part of the artist’s body in the performance process and something that can be removed, yet remains part of the character. The nude body onstage can be seen as another costume, the bare skin serving as an interface between visual and physical experience. Bernstrup and his virtual alter egos slip between existences where skin, body and costume tie his virtual and physical realities together.
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| 5. |
- Rosen, Astrid von, 1964
(författare)
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Costume in the Dance Archive: Towards a records-centred ethics of care
- 2020
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Ingår i: Studies in Costume and Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 5:1, s. 33-52
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Tidskriftsartikel (refereegranskat)abstract
- Focusing on the archival records of the production and performance of Dance in Trees and Church (1989) by the Swedish independent dance group Rubicon, this article conceptualizes a records-oriented costume ethics. Theorizations of costume as a co-creative agent of performance are brought into the dance archive to highlight the productivity of paying attention to costume in the making of performance history. Addressing recent developments within archival studies, a feminist ethics of care and radical empathy is employed, which is the capability to empathically engage with others, even if it can be difficult, as a means of exploring how a records-centred costume ethics can be conceptualized for the dance archive. The exploration resulted in two ethical stances useful for better attending to costume-bodies in the dance archive: (1) Caring for costume-body relations in the dance archive means that a conventional, so-called static understanding of records as neutral carriers of facts is replaced by a more inclusive, expanding and infinite process. By moving across time and space, and with a caring attitude finding and exploring fragments from various, sometimes contradictory production processes, one can help scattered and poorly represented dance and costume histories to emerge and contribute to the formation of identity and memory. (2) The use of bodily empathy with records can respectfully bring together the understanding of costume in performance as inseparable from the performer’s body with dance as an art form that explicitly uses the dancing costume-body as an expressive tool. It is argued that bodily empathy with records in the dance archive helps one access bodily holisms that create possibilities for exploring the potential of art to critically expose and render strange ideological systems and normativities.
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