• 복식
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• 제57권3호
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• pp.136-149
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• 2007

This study researched the costume manufacture process by having the musical 'Christmas Carol' as an example and specifically presented the costume manufacture process of an actually performance work, thus it aimed to be helpful theoretically and realistically, by allowing theatrical costume manufacturers and majors in theatrical costume to be informed of the systematically practical affair process of the theatrical costume manufacture and by exhibiting the research work of costume composition aiming at reproducing a silhouette in the process such as costume composition and sewing, and the effectively manufacturing methods such as the costume composition application and the sewing method development aiming at the activity of performers. In the empirical research, it analyzed the features of characters and arranged the manufacture points while actually manufacturing the performance costume, and clarified the systematically performance costume manufacture process such as a manufacture meeting${\rightarrow}$costume list preparation$\rightarrow$work-instruction sheet preparation$\rightarrow$pattern manufacture$\rightarrow$sewing$\rightarrow$performance and inspection. Through performing the manufacture of the really performance work, it is hoped that this study contributes to the development of performance art circles, by presenting a step and a method of professionally theatrical costume to the performance manufacturers and the theatrical costume manufacturers at present when the theatrical costume is solidifying its position as a professional sphere, in the performance and an, has a meaning as the initially empirical research, which can exhibit as a guide of realistically and empirically educational contents for theatrical costume aiming to bring up professional staff for theatrical costume, and becomes help in the efficiently theatrical costume manufacture realistically.

• 복식
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• 제54권2호
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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.

• 대한가정학회지
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• 제42권4호
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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.

• 복식
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• 제67권4호
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• pp.38-57
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• 2017

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are 'Theatrical,' 'Angelic,' 'Charming,' and 'Decorative.' In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

• 한국의류산업학회지
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• 제14권6호
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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.

• 복식
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• 제52권8호
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• pp.1-13
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• 2002

The object of this research is to know the characteristics of design for stage costume design through experiencing production of costume design of Mascani's opera "Cavalleria Rusticana" and to know the effect of stage costume at real performance. Background of times and characteristics were reviewed by analyzing opera. And reference regarding Mascani's opera "Cavalleria Rusticana" and script, and image data analysis and interview with director were also done. Ethnic costume in Sicily in southern Italy was reviewed at conception step. and design was embodied by analyzing character of each person based on this analysis. Form of character. motion and vocalization were considered at actual production step, and stage effect was analysed by considering lighting, stage background, and combination of color on costume between characters through real performance. The above conclusion could present professional and systematic methodology in designing opera and other stage costumes. And this research can also be a contribution in these days when interest for theatrical art. along with importance of stage costume, plays a key role in modern art. role in modern art.

• 대한가정학회지
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• 제47권2호
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• pp.15-26
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• 2009

The purpose of this study is to research development process of commedia dell'arte and Korean masque that have similar figure, grasp similarity and difference and find the meaning of masque and costume in both theatrical arts. Italian commedia dell'arte and Korean masque are performed by wearing standardized mask and costume depending on the role. As common points, first, the characters have unique names and possess unique features of character, costumes, masks and playing styles. Through the feature, the audiences can understand role of actor and the actors can devote themselves to their role by wearing masks and costumes. Second, although background plays an important role in commedia dell'arte, the role of costume is more important. Because masque speaks for poverties of general people indirectly, the costumes of general people were used as they are. As different point, first, most of Korean masks cover entire face, restricting speech of actor but masks of commedia dell'arte cover only upper part of face and expos mouth and chin of actor, enabling actors to express various emotions depending on the character. Second, priority is given to personality of actor and origin area and current silhouette, material and color that changed by century is reflected in the costume of commedia dell'arte but silhouette, material and color of the Age of Joseon Dynasty were adopted in Korean masque.

• 한국의류산업학회지
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• 제11권2호
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• pp.193-199
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• 2009

Now, the proportion of musical was strength in the stage art part to the past considerably as called musical boom. After 1990's, as if it was rise as rise of musical exclusive theater, it was development seriously in Korean musical. But presently, the examined musical product state as the ratio of import musical and creative musical is about 6 to 4 or 7 to 3, it was a inferiority of creative musical in a flood of import musical. So, this study researched for example Kim Kyun Hyoung' writing and Yu Min Suck' production, creative musical 'This is my destiny...' - played by Dept. of multimedia and film, Honam University in september 2007 - this researcher should give much theoretical and substantial assistance to stage costume producer by studying about producing costume of a aria story, a mental state. As I have studied sofar, in designing a stage costume for musical, the overall comprehension of the musical actor's bodies have to be considered. Though performing the manufacture of the really performance work. It is a field that needs various professional knowledge, and only when a musical is produced based on such theories, it will be possible to deliver the theme of the me of the play more effectively, becomes help in the efficiently theatrical costume manufacture realistically and express the various symbolical meanings.

• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 복식문화연구
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• 제20권1호
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• pp.18-35
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• 2012

The purpose of this study is to offer a holistic description of the role demanded of costume designers to provide qualitative improvement of costume designs for small- and medium-sized musicals. The study accomplishes this by analyzing the relationship between the play and costume design in musicals and also by examining the process and environments in which costumes of small-sized theater companies' original musicals are produced. The methods of study are empirical research of literature related to dress, stage art, and culture & arts from both domestic and foreign publications; research of visual materials related to plays; and production and analysis of theatrical performances in which the researcher has participated as a costume designer. The results of the study are as follows. First, professionalism of the play and visual perfection of the work may be enhanced by costume designers actively participating in meetings with staff from each field of the play. Second, by taking advantage of the unique aspects of the work environment of small-sized theater companies' small- and medium-sized original musicals, such as harsh situations of regular and periodical meetings with all staff member, the designer may consider the director's intentions and concepts of the play, but should display more creative and autonomous design abilities. Third, because the costume designers of small- and medium-sized original musical plays are given a small budget and short production periods, the ability to systematically manage budget and production periods and the ability to flexibly handle unexpected incidents during the play is essential.