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Dissertations / Theses on the topic 'Costume'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Chu, Hoi-shan. "Museum for traditional Chinese garment." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.

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2

Nguimfack-Perault, Sylvie. "Une approche ethnologique du costume de spectacle, de ceux qui le portent à ceux qui le fabriquent : identité, savoir faire et transmission." Paris 7, 1999. http://www.theses.fr/1999PA070117.

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On reconnaît l'individu de spectacle à son allure. On ne peut confondre l'acrobate avec la danseuse, la tragédienne avec le clown. Le costume de scène conjugué à l'attitude du corps constitue un puissant indicateur implicite sur le personnage représenté. Dans ce cadre, la danse et en particulier le music-hall où le paraître est porté à son comble constituent une référence obligée. La formation pour passer du statut de danseuse à celui de Girl est identique à une forme d'initiation. On en retrouve les ingrédients : le choc émotionnel (l'audition), l'isolement (la formation), la régression (le s
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3

Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.

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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories,
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Lebis, Evelyn. "Interactive Costume Design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11182.

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Is improvisation during collaboration a design choice? What is the difference between responsive inspiration and collaboration? Who is in charge of the artistic end result? And what influences the designer’s mood? These questions come across when investigating how to present wearable technology and the role of performance.
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5

Kovtun, I. "Egyptian Costume History." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8476.

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Фролова, Олена Олексіївна, and Н. М. Сиромля. "Traditional Japanese costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18273.

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7

Hamlin, Gretchen Lapp. "Costume as art /." Online version of thesis, 1991. http://hdl.handle.net/1850/11870.

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8

Borton, Lisa Kay. "Graduate costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2826.

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9

Baker, Terry. "Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2345.

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This thesis document is a presentation and exploration of the process involving the costume design for The Boys from Syracuse (music by Richard Rodgers, lyrics by Lorenz Hart, book by George Abbott) in the McLeod Theatre at Southern Illinois University Carbondale during February 2018. This light-hearted, farcical musical reminds us that life doesn’t have to be so serious. It explores our ability to be consumed by our own responsibilities, which causes us to escape to the theater and just enjoy a show. Chapter 1 contains the research, background information, and script analysis that was conduct
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Schubert, Gabriella. "Kleidung als Zeichen : Kopfbedeckungen im Donau-Balkan-Raum /." Wiesbaden : Harrassowitz, 1993. http://catalogue.bnf.fr/ark:/12148/cb37450180t.

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11

Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.

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This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.
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12

Стрижак, Любов Олександрівна, and Н. М. Сиромля. "History of Chinese costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18267.

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13

Cieskowski, Babette. "Costume Party With Blood." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu152335917211272.

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14

Squitiere, Rita Noelle. "Costume Design for Rent." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86601.

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Theater<br>M.F.A.<br>Rent is an extremely popular musical, recognizable across the globe. The iconic characters, images, and costumes from the original production have been copied and interpreted numerous times. I have chosen to reinterpret this script by examining the essence of each individual character. After researching magazines from the time period in which Rent was written and books containing information on AIDS and the East Village, all subject matter within Rent, I developed a design concept. Through a series of fourteen sketches I present my original concept for a very well known st
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15

Coulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.

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En danse contemporaine, le champs du costume recouvre un large domaine, allant du nu à une quasi accessoirisation du corps, en passant par la fripe ou des tenues diversement élaborées. Réelle interface entre le corps du danseur et le regard du spectateur, le costume reste trop souvent du domaine de l'évidence, ne bénéficiant que rarement d'une attention dans les discours relatifs à la danse. C'est la relation entre les costumiers et les chorégraphes que nous nous proposons de regarder ici de plus près, au-delà des relations trop souvent obscures qui lient costume et danse. Après un retour dans
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16

Rocha, Rosane Muniz. "A trajetória de Gianni Ratto na indumentária." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13052009-161645/.

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Esta pesquisa registra e analisa as criações de figurinos, desde a Itália até o Brasil, de Gianni Ratto, diretor, cenógrafo, iluminador e figurinista, além de autor e importante figura no teatro italiano e brasileiro. A catalogação, organização e digitalização das imagens de seus trabalhos resgata parte da história do teatro. Somada à investigação em fontes bibliográficas, e levando em consideração a história oral nos depoimentos registrados, a análise do seu acervo torna-se não apenas histórica, mas também cultural. Um estudo comparativo de três montagens do mesmo espetáculo (Elixir de Amor)
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17

Centergran, Ulla. "Bygdedräkter, bruk och brukare /." [Göteborg] : [Etnologiska Föreningen i Västsverige], 1996. http://catalogue.bnf.fr/ark:/12148/cb37022552v.

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18

Lewis, Shane. "Costume in "New Hollywood" movies /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17806.pdf.

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19

Wu, Hao, and 吳昊. "History of Chinese women's costume." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B3124080X.

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20

Zaichenko, Maria. "Historical costume in Zhytomyr region." Thesis, Міжнародний центр наукових досліджень, 2019. https://er.knutd.edu.ua/handle/123456789/14708.

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The analysis of Ukrainian traditional clothes, namely of Zhytomyr region, is conducted. Over the centuries of its development Ukrainian folk clothes have received a number of features that show its significant regional variety.<br>Проведено аналіз українського традиційного одягу, а саме одягу Житомирщини. За століття свого розвитку український народний одяг набув ряд особливостей, які свідчать про його значну регіональну різноманітність.<br>Проведен анализ украинской традиционной одежды, а именно одежды Житомирской области. За столетия своего развития украинская народная одежда приобрела ряд о
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21

Edelson, Kate Elizabeth. "Costume Designs for Divine Words." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/84203.

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Theater<br>M.F.A.<br>Divine Words is an adaptation of the play Divinas Palabras by Ramon del Valle- Inclan. In this paper, I hope to outline my design process as well as give insight into the development of a new theatrical work. I want to outline my journey from the beginning with the development of the script, the process of designing the show, and then implementing that design. Designing the costumes for this production required creating characters that both aided in telling the story as well as reflected individual character. I designed twenty-eight looks for fourteen actors that took into
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22

Bidleman, Araina Robin Joy. "Costume Director: Into the Woods." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144235.

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23

Khayat, Mia Tamar. "Realized works in costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2915.

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24

Ruiz, Emily Beth. "Costume design for the stage." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4740.

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Gilbert, Melissa Leigh. "Costume design for the theatre." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1608.

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26

Bodley, Brittany Dee. "Visual storytelling through costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.

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27

Françozo, Laura de Campos. "Lume teatro: trajes de cena e processo de criação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13112015-101124/.

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O objetivo deste trabalho é analisar o processo de criação dos figurinos dos espetáculos do grupo Lume Teatro. Já que este grupo é, antes de tudo, um núcleo de pesquisa, o presente trabalho busca então compreender de que forma as linhas de pesquisa do Lume Teatro influenciam ou modificam o modo de produção dos trajes de cena. Para atingir essa meta, analisamos o pensamento acerca dos figurinos dos mestres teatrais que foram a base do trabalho desenvolvido pelo Lume. A seguir, foram entrevistados os sete atores-pesquisadores do Lume e dois figurinistas que trabalham com frequência com o grupo.
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28

Ege, Ufuk. "Costume in Chaucer's works with special reference to the visual history of costume in his era." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310504.

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29

Fickling, Sarah. "Costume Design and Production of An Enemy of the People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461090962.

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30

Boone-Riffaud, Christine. "La Mode et l'habillement au dix-septième siècle." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37612050m.

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31

Pourbahman, Fereydoun. "Histoire du costume en Perse antique." Besançon, 1987. http://www.theses.fr/1987BESA1030.

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Pour retracer l'histoire du costume en perse, de 5000 ans avant Jésus-Christ au VIIème siècle après Jésus-Christ, un découpage en cinq périodes nous est nécessaire, chacune correspondant à des moments précis et distincts de l'histoire de la perse. C'est pourquoi avant de s'attacher à l'étude propre du costume, nous nous sommes imposes de retracer, pour chacune de ces périodes, les faits historiques importants qui les caractérisent, mouvements de l'histoire et évolution du costume étant en étroite corrélation. L'étude de l'habillement des élamites, qui régnèrent sur une partie de la perse avant
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Stone, Katherine. "CREATING AN ENVIRONMENTALLY SUSTAINABLE COSTUME SHOP." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1867.

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The goal of my thesis is to provide the reader with a better understanding of how to create an environmentally sustainable costume shop. I chose to focus on certain elements of the costume shop that are imperative to the function of the shop, but desperately need to change for the sake of the environment. The elements I focused on were fabric, energy, and chemicals. Armed with a better understanding of why and what needs to be changed, the reader will be able to take this knowledge and apply it to their costume shop and life. We need to change how we interact with the environment and I hop
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33

Grace-Duff, Jamie L. "A Costume Design for Pudd'nhead Wilson." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199309.

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Theater<br>M.F.A.<br>This thesis describes the process I used to research, draw, paint and finally design the costumes for Temple University's theatrical production of Pudd'nhead Wilson written by Charles Smith. I present the differences between the novel by Mark Twain and the script by Charles Smith. The early design process is then described including meetings with the director Doug Wager, the scenic designer Ian P. Guzzone and the lighting designer Christopher Hetherington. My preliminary costume research is illustrated in the text and the accompanying appendices followed by full color goua
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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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Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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<p> <i>Urinetown: The Musical</i> by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for <i>Urinetown: The Musical</i> and the challenges of working with a large cast and dealing with ma
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Ryan, Hayley Melissa. "Creating character: a costume design portfolio." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6268.

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The role of a costume designer in a theatrical production is influential in creating character, time, and space. Costumes are the way in which a costume designer expresses a character’s personality, emotions, social status, and other personal idiosyncrasies. The job of a costume designer is to know how a character’s identity influences how they dress themselves. As a character develops throughout the performance, so must their clothing. Costumes show how a character ages, transforms, or regresses over the arc of a production. Not only do costumes show character details, they help clue the audi
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Raudszus, Gabriele. "Die Zeichensprache der Kleidung : Untersuchungen zur Symbolik des Gewandes in der deutschen Epik des Mittelalters /." Hildesheim ; Zürich ; New York : G. Olms, 1985. http://catalogue.bnf.fr/ark:/12148/cb34938075x.

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38

Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.

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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performa
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Alatorre, Carmen. "A costume design for The Learned Ladies." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/24220.

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The purpose of this thesis is to document and describe the costume design project behind the University of British Columbia (UBC) production of The Learned Ladies. This comedy, written by seventeenth century French playwright Molière (Jean Baptiste de Poquelin) in 1672, is a five -act play composed in verse. Our Production ran from February 7-16, 2008 in the Frederic Wood Theatre and was performed by students in the Bachelor of Fine Arts Acting Program. MFA candidate Patrick Gauthier directed the production and the creative team included Stephania Schwartz (Set Designer), Kristin Robinson (L
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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.

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Paula, Renato Pupo de. "Transexualidade e os crimes contra o costume." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/7583.

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Made available in DSpace on 2016-04-26T20:25:40Z (GMT). No. of bitstreams: 1 RENATO.pdf: 506088 bytes, checksum: 8fa782946a857c1bc48ee79c4b169c05 (MD5) Previous issue date: 2007-06-13<br>This study approaches the issue of transsexuality and the legal effects originated by it. With the transgenitalization, a surgery altering the transsexual's genital organs to adequate him to the psychologic sex, several legal consequences arise, such as rules for retirement, change of name in civil records, and many others. But the main focus is the issue of carnal conjunction through violence with the victi
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Скрипка, Альона. "The Main Features of Japanese National Costume." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7256.

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Lahoda, Oksana, and Yanwen Lin. "Men's costume and "masculine shaping" in design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17899.

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The authors propose to consider the problem of gender identity, which in male fashion can be identified by means of "masculinity". The aim of the study is to determine the constants of a man's suit that are associated with exclusively masculine qualities in clothing and constitute the meaning of the category "masculinity", its gender subtext. It has been established that in its historical and socio-cultural development, the design of a man's suit and trends in men's fashion are closely related to socio-psychological types, their style of life, and the ideology of subcultures.
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Jaffré, Gaël. "Indexation de la vidéo par le costume." Toulouse 3, 2005. http://www.theses.fr/2005TOU30174.

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La contribution de cette thèse est l'introduction du costume comme caractéristique pour l'indexation automatique de contenus vidéo. Deux schémas sont développés pour l'extraire de manière automatique dans une image donnée. Le premier repose sur une détection préalable des visages. Le deuxième se sert des costumes déjà détectés, pour chercher dans l'image si l'un d'eux est présent. Puis, un descripteur de costume est proposé. Il est fondé à la fois sur une analyse de la couleur, sur une information sur la texture, à partir d'une approximation des filtres de Gabor, ainsi que sur des descripteurs
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Bush, J. Theresa. "Shockheaded Peter: a junk opera. Costume Design." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3107.

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My concept is rooted in the fairy tail land of the dark woods like so many other terrifying fairy tails from my youth. Shockheaded Peter, our boogie man, is of the trees. The blood of the rotten children feeds the trees in this concept for the marbles that fall from our children literally representing blood will flow down the rake, across tin gutters, and into a huge tin washbasin out of which grows our gnarly set tree, a gnarly knobby willow. Peter comes from this tree that is fed by the blood of children. I set my costumes in the Regency period and located it in Germany, which gives my
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Mott, Jason. "This drawing of a man in costume." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/rp/mottj/jasonmott.pdf.

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Sivigny, Debra Kim. "A costume design for Bill Irwin's Scapin." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1768.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.<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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Espiau, Camille Cros Vincent. "Le costume folklorique en région Rhône-Alpes." [S.l.] : [s.n.], 2003. http://www.enssib.fr/bibliotheque/documents/dessride/rrbespiau.pdf.

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Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.

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Thesis (M.F.A.)--West Virginia University, 2003.<br>Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).
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Chen, Yu-Chieh. "Versatile bridal wear." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1345.

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Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010<br>In the 19th and 20th Century, products were manufactured with little concerns for the environment. The result of this was an over flowing of low quality products and a high elimination rate, especially in the fashion industry where constant change is the nature of the business. Particularly in bridal wears, the sustainability is deficient and practicality is limited. bridal garments would only be worn once and are usually highly priced. The purpose of this research is to explore whether consumers are willing
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