Look at the following key Class Marks for books of interest for your Course:- 391 (Costume & Fashion) 646.4072 (Pattern Cutting) and 792 (Theatre Arts).
The following new books were purchased with the Costume Production & Associated Crafts Course in mind.
This is a comprehensive guide to understanding and creating men's costumes and fashions of the seventeenth and eighteenth centuries. As well as being historically accurate, Mr. Davis' patterns have been prepared so that they fit the modern male figure and adapted so that they can be readily constructed using today's fabrics and sewing techniques. The book includes a collection of scaled patterns, instructions to make the costumes, historical references, comparative and alternate costumes, numerous visual representations, and specific tailoring notes from Mr. Davis' long years of experience. It is considered the most comprehensive book on the subject of men's costume and fashion of the seventeenth and eighteenth centuries. Whether you are an amateur of professional costume maker, costume historian, costume and fashion student, or just a costume buff, you will find this book an invaluable source of practical patterns, techniques and historical information. Building on nearly 60 years' experience as the master cutter for Angels Costumes of London, Davis outlines two centuries of men's fashion with patterns and notes on how to build each garment. Following an introduction, chapters detail the Baroque fashion (1630-1700), the three-piece suit (1670-1800), and cutaways and tailcoats (1760-1800). Everyday fashion and military uniforms of the 17th and 18th centuries are also included. Davis offers a detailed study of men's fashions from hats to shoes and everything in between: breeches, capes and cloaks, top coats, waistcoats, and pantaloons. Amply supplied plates, figures, and diagrams support the text. While the scaled patterns were developed as a guide to clothing construction for period costuming, only a skilled seamstress or tailor could use them despite a final chapter sharing tips on measuring and how to make adjustments. A listing of major rulers of the 17th and 18th centuries is included.
What is implied when we refer to the study of performing
arts as 'drama', 'theatre' or 'performance'? Each term identifies a different tradition
of thought and offers different possibilities to the student or practitioner.
This book examines the history and use of the terms and investigates the
different philosophies, politics, languages and institutions with which they
are associated. Simon Shepherd and Mick Wallis:
• analyse attitudes to drama, theatre and performance at
different historical junctures
• trace a range of political interventions into the field(s)
• explore and contextualise the institutionalisation of
drama and theatre as university subjects, then the emergence of 'performance'
as practice, theory and academic disciplines
• guide readers through major approaches to drama, theatre
and performance, from theatre history, through theories of ritual or play, to
the idea of performance as paradigm for a postmodern age
• discuss crucial terms such as action, alienation,
catharsis, character, empathy, interculturalism, mimesis, presence or
representation in a substantial 'keywords' section. Continually linking their
analysis to wider cultural concerns, the authors here offer the most
wide-ranging and authoritative guide available to a vibrant, fast-moving field
and vigorous debates about its nature, purpose and place in the academy.
The relationship between philosophy and theatre is a central
theme in the writings of Plato and
Aristotle and of dramatists from
Aristophanes to Stoppard. Where Plato argued that playwrights and actors should
be banished from the ideal city for their suspect imitations of reality,
Aristotle argued that theatre, particularly tragedy, was vital for stimulating
our emotions and helping us to understanding ourselves. Despite this rich
history the study of philosophy and theatre has been largely overlooked in
contemporary philosophy. This is the first book to introduce philosophy and
theatre. It covers key topics and debates, presenting the contributions of
major figures in the history of philosophy, including:
• what is theatre? How does theatre compare with other arts?
• theatre as imitation, including Plato on mimesis
• truth and illusion in the theatre, including Nietzsche on
tragedy
• theatre as history
• theatre and morality, including Rousseau’s criticisms of
theatre
• audience and emotion, including Aristotle on catharsis
• theatre and politics, including Brecht’s Epic Theatre.
Including annotated further reading and summaries at the end
of each chapter, Philosophy and Theatre is an ideal starting point for those
studying philosophy, theatre studies and related subjects in the arts and
humanities.
Offering essential guidance to students throughout their
undergraduate studies, this companion
explores the development of a discipline that is still in flux, offers
practical advice about how to study it
and where this study might lead, and provides a useful reference resource on
key practitioners, debates,
performances and terms. This one-stop companion
is your complete introduction to all aspects of Drama, Theatre and Performance, whether you are studying at
university or drama school. Designed as a single reference resource, it takes you from studio to stage,
from lecture theatre to workshop, covering practice as well as theory and history. The Companion
offers: - practical sections on acting, devising and directing an extensive list of key concepts
with clear explanations- a select encyclopedia of entries on major practitioners, theorists and
performances- tips on study skills such as using journals and navigating the library- career advice to
help you get the most out of your studies and plan your future. Reliable and
comprehensive, this guide will be invaluable throughout your degree or course.
Erika Fischer-Lichte's introduction to the discipline of
Theatre and Performance Studies is a strikingly authoritative and wide ranging
guide to the study of theatre in all of its forms. Its three-part structure
moves from the first steps in starting to think about performance, through to
the diverse and interrelated concerns required of higher-level study:
Part 1 – Central Concepts for Theatre and Performance
Research – introduces the language and key ideas that are used to discuss and
think about theatre: concepts of performance;
the emergence of meaning; and the theatrical event as an experience
shared by actors and spectators. Part 1 contextualizes these concepts by
tracing the history of Theatre and Performance Studies as a discipline.
Part 2 – Fields, Theories and Methods – looks at how to
analyse a performance and how to conduct theater-historiographical research.
This section is concerned with the 'doing' of Theatre and Performance Studies:
establishing and understanding different methodological approaches; using
sources effectively; and building theoretical frameworks.
Part 3 – Pushing Boundaries – expands on the lessons of
Parts 1 and 2 in order to engage with theatre and performance in a global
context. Part 3 introduces the concept of 'interweaving performance cultures';
explores the interrelation of theatre with the other arts; and develops a transformative
aesthetics of performance.
Case studies throughout the book root its theoretical
discussion in theatrical practice. Focused accounts of plays, practitioners and
performances map the development of Theatre and Performance Studies as an
academic discipline, and of the theatre itself as an art form. This is the most
comprehensive and sophisticated introduction to the field available, written by
one of its foremost scholars.
This is a new and enlarged edition of Mark Fortier's very
successful and widely used essential text for students. Theory/Theatre provides
a unique and engaging introduction to literary theory as it relates to theatre
and performance. Fortier lucidly examines current theoretical approaches, from
semiotics, post-structuralism, through cultural materialism, postcolonial
studies and feminist theory.
This new edition includes:
* More detailed explanation of key ideas
* New 'Putting it into practice' sections at the end of each
chapter so you can approach
Theory/Theatre is still the only study of its kind and is
invaluable reading for beginning students and scholars of performance studies.
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