Manual More Costumes for the Stage

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Children's Book authors create mascots from the main character to present at their book signings. Animal costumes that are visually very similar to mascot costumes are also popular among the members of the furry fandom , where the costumes are referred to as fursuits and match one's animal persona, or "fursona". Costumes also serve as an avenue for children to explore and role-play. For example, children may dress up as characters from history or fiction, such as pirates, princesses , cowboys, or superheroes.

They may also dress in uniforms used in common jobs, such as nurses, police officers, or firefighters, or as zoo or farm animals. Young boys tend to prefer costumes that reinforce stereotypical ideas of being male, and young girls tend to prefer costumes that reinforce stereotypical ideas of being female. Cosplay , a word of Japanese origin that in English is short for "costume display" or "costume play", is a performance art in which participants wear costumes and accessories to represent a specific character or idea that is usually always identified with a unique name as opposed to a generic word.

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These costume wearers often interact to create a subculture centered on role play, so they can be seen most often in play groups, or at a gathering or convention. A significant number of these costumes are homemade and unique, and depend on the character, idea, or object the costume wearer is attempting to imitate or represent.

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  7. The costumes themselves are often artistically judged to how well they represent the subject or object that the costume wearer is attempting to contrive. Costume design is the envisioning of clothing and the overall appearance of a character or performer. Costume may refer to the style of dress particular to a nation, a class, or a period. In many cases, it may contribute to the fullness of the artistic, visual world that is unique to a particular theatrical or cinematic production.

    The most basic designs are produced to denote status, provide protection or modesty, or provide visual interest to a character. Costumes may be for, but not limited to, theater, cinema, or musical performances. Costume design should not be confused with costume coordination, which merely involves altering existing clothing, although both processes are used to create stage clothes.

    The Costume Designers Guild 's international membership includes motion picture, television, and commercial costume designers , assistant costume designers and costume illustrators, and totals over members.

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    The Costume Designer is a quarterly magazine devoted to the costume design industry. Edith Head and Orry-Kelly , both of whom were born late in , were two of Hollywood's most notable costume designers. In the 20th century, contemporary fabric stores offered commercial patterns that could be bought and used to make a costume from raw materials. Some companies also began producing catalogs with great numbers of patterns. More recently, and particularly with the advent of the Internet, the DIY movement has ushered in a new era of DIY costumes and pattern sharing.

    Professional-grade costumes are typically designed and produced by artisan crafters, often specifically for a particular character or setting. Specialty shops may also include common costumes of this caliber. The costume industry includes vendors such the American company Spirit Halloween , which opens consumer-oriented stores seasonally with pre-made Halloween costumes. From Wikipedia, the free encyclopedia.

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    For the Finnish magazine, see Costume magazine. Society and culture. Costume design Costume designer Spirit gum.

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    Elements and methods. Plague doctor costume Modern dress. Sesame Street Zoobilee Zoo. Batsuit utility belt Ghostface Superman suit. Category:Costume designers.

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    King of Bhutan in traditional dress and Bhutanese Women in traditional dress. Main article: Stage clothes. Main article: Cosplay. Main article: Costume design. Theatre portal Holidays portal Fashion portal. New York: Checkmark Books. The Sydney Morning Herald.

    Retrieved 12 October — via Trove. Minding her own Business - Colonial businesswomen in Sydney. Retrieved 18 October Retrieved 17 October Tourism Council of Bhutan.

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    Retrieved 16 November Designers Nexus. Retrieved 18 November Stevenson University". Retrieved 13 December Retrieved 19 November The Business of Fashion. Retrieved 16 October Greenwood Press. World Press. Rituals and Patterns in Children's Lives. Popular Press. The Costume Designer. Costume Designers Guild. Bra Camisole Undershirt. Historical clothing. In place of highly decorative mythological or classical scenes, there were poetic evocations of landscape, and the ballerinas were either dressed in simple white dresses or in colourful national dress. White was almost the only colour used.

    This unity of dance and design was not to last, however. By the end of the 19th century most of the productions mounted at the Mariinsky Theatre in St. Actually, the theatre management did not allow dancers to go barefoot, but they had red toenails painted onto their tights to achieve the same impression. In the newly emerging modern dance , experiments with set, lighting, and costume design were also significant.

    One of the pioneers in this field was Loie Fuller , a solo dancer whose performances in the s and early s consisted of very simple movements with complex visual effects. Swathing herself in yards of diaphanous material, she created elaborate shapes and transformed herself into a variety of magical phenomena. These illusions were enhanced by coloured lights and slide projections playing across the floating material.

    Elaborate lighting and costumes were also used by Ruth St. Denis , whose dances frequently evoked ancient and exotic cultures. At the opposite extreme Martha Graham , who began her career as a dancer with St. Simple but dramatic lighting suggested the mood of the piece. Graham also pioneered the use of sculpture in dance works, replacing painted scenery and elaborate props with simple, free-standing structures.

    These had a number of functions: suggesting, often symbolically, the place or theme of the work; creating new levels and areas of stage space; and also illuminating the overall design of the piece. One reason for this development has been the move away from narrative to plotless, or formal, works in both ballet and modern dance, where there is no longer any need for visual effects to provide narrative background.

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    Set, costume, and lighting design are important in narrative as well as formal dance in helping the audience maintain the special attention that theatre demands. They can also influence strongly the way in which the choreography is perceived, either by creating a mood sombre or festive, depending on the colour and ornamentation used or by strengthening a choreographic image or concept.

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    Some choreographers, trying to emphasize the nontheatrical or nonspectacular aspects of dance, have dressed their dancers in ordinary street clothes in order to give a neutral, everyday look to their movements, and they have often dispensed entirely with set and lighting. Set design and lighting or their absence can help to frame the choreography and to define the space in which it appears. The space in which a dance occurs has, in fact, a crucial influence on the way movement is perceived.

    Thus, a small space can make the movement look bigger and possibly more cramped and urgent , while a large space can lessen its scale and possibly make it appear more remote. Similarly, a cluttered stage, or one with only a few lighted areas, may make the dance appear compressed, even fragmented, while a clearly lighted, open space may make the movement appear unconfined.

    Two choreographers who had been most innovative in their use of set and lighting were Alwin Nikolais and Merce Cunningham.

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    The former has used props, lighting, and costumes to create a world of strange, often inhuman shapes—as in his Sanctum The latter has often worked with sets that almost dominate the dancing, either by filling the stage with a clutter of objects some of which are simply things taken from the outside world, such as cushions, television sets, chairs, or bits of clothing or—as in Walkaround Time —by using elaborate constructions around which the dance takes place, often partly concealed. Perhaps the most important influence on the way spectators perceive dance is the place in which it is performed.

    Religious dances usually take place within sacred buildings or on sacred ground, thus preserving their spiritual character.