Relevant bibliographies by topics / Costume drama / Dissertations / Theses
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Dissertations / Theses on the topic 'Costume drama'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Crocker-Aulenback, Heather Lee. "Dressing cultures costume designs for Pericles /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/369/.

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2

Lucka, Kristina. "A costume design for John Caird and Paul Gordon's (Jane Eyre : a musical drama)." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3554.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Pidduck, Julianne. "Intimate places and flights of fancy, gender, space, and movement in contemporary costume drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0007/NQ40298.pdf.

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4

Cousins, Jennie. "Unstitching the 1950s film costumes : hidden designers, hidden meanings." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/42353.

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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinolin
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Viémont, Gaëlle. "Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.

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Cette thèse cherche à comprendre et à analyser les fondements historiques, sociaux, culturels et genrés d’une méconnaissance et d’une sous-valorisation actuelles des costumiers et des costumières, en accordant un primat à leur parole propre. Traitant des origines théoriques de l’art costumier à partir de l’apparition de l’appellation professionnelle consacrée, la première partie retrace le parcours et les luttes multiples de Pierre-Nicolas Sarrazin, en cherchant à identifier les motifs de l’échec de la valorisation professionnelle entreprise par ce dernier au XVIIIe siècle. La deuxième partie
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Souza, Érica Fernanda Brasil Carosia Paulino de. "O traje medieval português e sua função alegórica no Auto da Barca do Inferno e no Auto da Alma de Gil Vicente." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14665.

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Made available in DSpace on 2016-04-28T19:58:39Z (GMT). No. of bitstreams: 1 Erica Fernanda Brasil Carosia Paulino de Souza.pdf: 4921179 bytes, checksum: e84c84d017fcbfe4da9382c710a93b55 (MD5) Previous issue date: 2011-05-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation examines the role of the allegorical medieval costume Portuguese, Auto da Barca do Inferno (1517) and Auto da Alma (1518) Gil Vicente. As specific objectives, we demonstrate the relationship between clothing and the characters, explain the symbolism of each piece of clothing, and elucidat
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7

Kessler, Eli Mikael. "One Hundred and Fifty Percent Elasticity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/649.

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The sculptural environments I create immerse the viewer in a decrepit vaudevillian past. The sculptures allude to narratives within Community Theater as well as the Drag Show. Making becomes an act; manipulating materials such as synthetic hair and paint are associated with the guise of the makeup artist. Frantic rehearsal logic prevails as a dress is repurposed into a male giant's costume and window blinds are used to construct a boat's deck. This collusion asks the viewer to transgress the boundary of the stage, becoming a voyeur privileged to the world of exiled props and role reversal.
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8

Li, Yiman. "STUDY OF SYMBOLIC EXPRESSIONS IN PEKING OPERA'SCOSTUMES AND LYRICS." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3597.

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This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applie
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SILVA, Francisco José Chaves da. "A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar." www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/3174.

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SILVA, Francisco José Chaves da. A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar. 2007. 292f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2007.<br>Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-10T14:53:10Z No. of bitstreams: 1 2007_Dis_FJCSILVA.pdf: 5850089 bytes, checksum: e4d53d8c38dc414ce7b08578845c7255 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-11T16:24:46Z (GMT) No. of
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10

Holt, Anne. "Reading Costume Design: the rise of the costume designer 1850-1920." Thesis, 2014. https://doi.org/10.7916/D8H1305D.

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"Reading Costume Design" identifies and theorizes an important shift in costume practices: in the mid-nineteenth century, it was common for actors to wear their own clothing onstage or to choose a garment from a theatre's generic stock, without coordination with other costumes or attention to the particular demands of a role. By the early twentieth century, however, costume was firmly established as an expressive artistic tool in building a character and shaping the complete theatrical experience, overseen by a professional designer who routinely received credit in the program. By focusing on
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11

Crocker-Aulenback, Heather L. "Dressing Cultures: Costume Designs For Pericles." 2009. https://scholarworks.umass.edu/theses/369.

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This paper examines the costume designs, character analysis, and the process of design collaboration involved in the production of Pericles, Prince of Tyre done in the spring of 2009 at the University of Massachusetts Amherst. The designer, Heather Lee Crocker-Aulenback, chose to create a series of cultures influenced by both the text and familiar cultural groups found in our own world, to represent the lands visited by the hero of the play and to create a dynamic and artistic visual landscape for the audience.
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Kuo, Ben-Hao, and 郭本皓. "Realist drama costume design interpretation from time of fashion design.The Costume Design Records for 《The Dresser》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/a7u27n.

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碩士<br>國立臺北藝術大學<br>劇場設計學系碩士班<br>102<br>In 2011, Taipei National University of the Arts winter show case performed 《The Dresser》. This thesis is revealing the connection between costume design and stage design through this play. 《The Dresser》was a story about a theatrical troupe and the scene also sets in a theater. When audience came to enjoy the play, they will sit in a theater and watching a show about the theater. The story brings out the truth inside show choir, and gives us the insight of their live and emotion. 《The Dresser》was written by Ronald Harwood in 1982. It was also been nominat
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13

(8774834), Cody W. Krumrie. "Dressing for the Part(s): Costume Transformations on the Early Modern English Stage." Thesis, 2020.

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<div>This dissertation brings together studies of early modern subjectivity, material culture, and dramatic performance in ways that address the myriad ways in which material objects—in this case, clothing and costumes—can act as catalysts for change in a work of the dramatic literature of the period. Literary studies of the twenty-first century has done little to examine the ways in which costumes on the early modern English stage functioned to convey relationships between outward expression and inner self. Despite critical agreement that staged objects in early modern England were significan
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14

Pidduck, Julianne. "Intimate places and flights of fancy : gender, space, and movement in contemporary costume drama." Thesis, 1997. http://spectrum.library.concordia.ca/434/1/NQ40298.pdf.

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If social theory and common wisdom might posit a gendered binary between the feminine principle of stasis and a masculine principle of dynamism, contemporary costume drama presents a delightfully complex and nuanced feminist philosophical dilemma. In this dissertation, I explore the tension within this genre between the intimacy of perfect interiors and precise, nuanced dialogue--and its offer of a fanciful escape into romantic and exotic costumes, landscapes, situations. My fascination with the gendered implications of these comfortable and confined interiors ("intimate places"), contrasted w
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15

CHEN, HUNG-JANG, and 陳弘帳. "A Study on the Trailer of the Chinese Costume Drama - Nirvana in Fire:From the Perspectives of Message Design Principles." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/g28qtm.

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碩士<br>國立臺北教育大學<br>教育傳播與科技研究所<br>105<br>The purpose of applying message design principles is to solve problems or to make specific blueprints. The concrete instances are presented through the motivation, perception, problem solving ,and attitude change principles which are edited by Fleming, Levie, and Bednar. These principles have been used in the field of education, communication and public relations. Costume dramas are popular because they contain a variety of themes, create ideal worlds in the stories, and provide the audience new viewing experiences. In 2014, Hong-Liang Hou and his crew p
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16

Hrnčířová, Denisa. "Genderové stereotypy v současném britském historickém kostýmním dramatu. Komparace Panství Downton a Pana Selfridge." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-267689.

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The diploma thesis named Gender Stereotypes in Contemporary British Period Drama. The Comparative Analysis of Downton Abbey and Mr Selfridge compares the marks of gender stereotypes and conservative principles in British period drama series. The analysis of their clash with progress in society and technology during the first two decades of the 20th century is performed on the method of qualitative content analysis of two examples of popular contemporary British costume drama Downton Abbey and Mr Selfridge. The theoretical framework of the thesis is based on the concept regarding history in fil
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17

Yeh, Yi-Yan, and 葉亦嚴. "A Study of Puppet Costumes and Their Weapons Design in Pili Puppet Drama." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/48573197160739461403.

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碩士<br>亞洲大學<br>數位媒體設計學系<br>102<br>The Taiwanese glove puppet drama is one of the most popular traditional folk arts. It provides entertainment for people of all walks of life and enriches the content of their life as well. The puppet displays the multi-culture, a combination of classical and traditional music, literary references and folk songs. When the puppet shows started on video. These video rentals gave new life to Taiwanese puppet. They also brought the new puppet craze. Moreover, the sword-swinging puppets have given a centuries-old tradition place in modern life. The puppet shows not o
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18

Jyh-Haur, Yang, and 楊智豪. "A Creation of the Costumes of Taiwanese Opera Combined with Western Fashion Elements in 18th Century for The Drama“Xue Ping-Gui and Wang Bao-Chuan”." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/75682637396381535278.

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碩士<br>樹德科技大學<br>應用設計研究所<br>95<br>Taiwanese Opera is a kind of local drama which can always amalgamate other cultures . Because of its special amalgamation of cultures, Taiwanese Opera becomes more and more generous. Of course, we can find this future on costume design. Though the costumes for Taiwanese Opera can take up so much style of other cultures, in fact, it didn’t go on a right way. Costume designers always just “put” some parts of western costumes on Chinese traditional costumes, and create a lot of Opera costumes which were though gaudy, so that we can hardly find the texture in our T
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