• Journal of the Korean Society of Costume
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• v.48
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• pp.53-70
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• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.129-139
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• 2001

Picasso had deep concern at the designs of theatre costumes as well as art. The art of Picasso influenced deeply to the fashion designs in those days. In these study, to analyze the creative theatre costumes of Parade affected by Picasso's cubism, we investigate the documentary records, photos, and sketches of Picasso. The design of theatre costumes in Parade was able to be divided by two categories, general theatre costumes and experimental theatre costumes. The first characteristic of general theatre costumes is that the designs of theatre costumes in Parade were influence by the early stages of Picasso's art. The costumes of the Chinese Conjurer influenced by the Red Era of Plcasso's art and those of the Little American Girl and the Acrobats influenced by the Blue Era of Picasso art may belong to the category of general theatre costumes. The second characteristic of general theatre costumes is the fact that the images of heavenly bodies were used in the costume of the Chinese Conjure and the Acrobats. The characteristic of experimental theatre costumes is the fact that the cubism is introduced to the designs of theatre costumes in Parade. The experimental theatre costumes were presented in the costumes of the Three Managers which were newly created under the influence of Picasso's cubism.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.27-40
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• 2004

The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.123-126
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• 2005

• Journal of the Korean Home Economics Association
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• v.42 no.4
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• pp.179-186
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• 2004

The purpose of this study was to analyzed factors that influenced the degree of satisfaction difference of domestic and imported theatre costumes. One hundred and fifty theatrical artists were surveyed by questionnaires, and response from 128 was statistically analyzed. The data was analyzed using frequency, and paired t-test with SPSSWIN 10.0. The results were as follows. 1. The degree of satisfaction between domestic and imported theatrical costumes was different significantly. 2. The degree of satisfaction of domestic theatrical costumes was tow in the areas of design, color, fabric, and suitability with a historical background, compared with imported costumes. A major cause of the low degree of satisfaction was the lack of funds and professional theatrical costume designers. 3. The degree of satisfaction of imported theatrical costumes was low in the cost, size, and alteration and mending facilities, compared with the domestic costumes. The problems of size was caused by the shape difference between Koreans and a foreigners 4. further research should be conducted into the theatre costumes suitable for the domestic theatrical artists's size, and body shape.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.153-162
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• 2004

Influenced by Constructivism Art, Constructivism theatre projected the future with the help of participating artists and the development of new technologies. Therefore, this thesis studied the stage costumes in the plays of Meyerhold who represented Constructivism Play and showed its characteristics. The stage costumes in Meyerhold's plays followed the rules of Constructivism Play and showed several unique characteristics, such as the Bio-mechanic as a characteristic in his plays, functionality that facilitated the movement based on Taylorism, simple shapes, and easy cutting. Constructive artists saw the stage of constructive plays as a laboratory where they can display their designs, directly portraying future life forms through stage costumes and props. Stage costumes were no more a supporting tool that had described the play. Following the new concept of stage costumes, working costumes and stage costumes came to be regarded as the same. In turn, this led to new models and special costumes such as sportswear or specialized garments. Constructivism artists foresaw the future through the plays, with their fundamental basis for stage costumes shown in the later works of ordinary costumes.

• International Journal of Costume and Fashion
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• v.7 no.2
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• pp.64-75
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• 2007

This is a project presented to obtain Master of Fine Arts degree in Costume Production. The candidate has to present 20 costume illustrations and four full constructed costumes for selected actors. At the presentation, the candidate is given 45 minutes to present followed by questions asked by the committee and audiences and it was presented and exhibited in Brookline Arts Council. The thesis consists of two parts; research and analysis on the play, and the result of the design and production for the $play^{1)}$which consists of four fully built costumes-two in chosen fabrics and the other two in muslin with full closure worn on selected actors for each character. The period for the costume design is the Elizabethan period, the actual period the play Hamlet was written in England. The play Rosencrantz and Guildenstern are Dead is a play written in 1967 from a view of two small characters from Shakespeare's play Hamlet. So the costumes of Hamlet's characters are in full period, but the main two characters' costumes will have some of modern twists.

• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.79-94
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• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.