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sightlines.usitt.org: Costume at the Turn of the Century 1990-2015, an exhibit of international costume design, at the A. A. Bakhrushin State Central Theatre Museum in Moscow, Russia, is scheduled to wrap up September 10.
4 comments:
Jacob Poser
said...
It is mind blowing to think how large and small the world can be at the same time. I have never had the opportunity to travel over to Europe, and for the majority of my short life have seen it as this vast land of people that are more sophisticated than us simple Americans. Reading this article helped to bridge the European bridge. We hear the term "Theatre is universal" a lot, and it tends to roll off our backs because we never get the experience to travel to the rest of the world to experience our art form in different venues. It is comforting to know that theatre truly is a universal language whether it be in the form of costume history, scene designs, or even acting. Obviously, aside from the creation this fantastic exhibit, i was blown away from the actual costume pieces. It is inspiring to see such well made ornate clothing that has stood the test of time.
Nothing is more special than a celebration of artists' work from all corners of the globe--in the organization of an exhibit featuring costumes from various locations, various periods, and various perspectives all,our appreciation for diversity is enhanced immensely. One can be so focused in one's own theater community that taking a step back can often be jarring, yet it is an an ever-so-necessary moment to gain a new understanding of the art of costuming. By sharing and collaboration, one can truly begin to immerse oneself in a new culture, a new mode of thinking or processing information.
I want to start out by saying that I a m a little disappointed that I was not in attendance at what I can only assume is an amazing display of costume design and technology, I know that Susan Tsu helped curate the United states portion of the exhibit and that a lot of very well known and talented designers have their work displayed. I have recently seen the catalog for this exhibiton and I hope that it will be published as a book soon. I think it can serve as a vaulable resource for young designers, both as inspiration and as history. I think in order to know where our industry is going it is important to look at our past. How did previous designers use new technology? How can their visual aesthetic inform my own? These are all good questions to think about when looking at this exhibit through the eyes of a designer. I also think that the theatre industry has a harder time recording it's history than othe industries. These kind of exhibits help record and maintain our past.
I would have liked nothing more than be able to see this exhibit in person and am still holding out hope that one day it will be re-mounted in the states. We are lucky enough to have Susan Tsu here, who was on the united states curation team and has been able to give us glimpses of the exhibit. This exhibit has allowed aspiring costume designers and technicians to see how each country has been approaching design and the creation of costumes, as well as so beautifully archiving the top designers and costumes from each participating country. I feel that being able to see so clearly how each country approaches both the design and creation of costumes will greatly help us become better artists and open us up to new and innovative ways of creating garments. I can not think of another exhibit of theatrical costumes that has ever come close to the scale of this. With costumes, it is often hard to reassemble original productions and keep the clothing in a manner that we can later study, thanks to this exhibit, we have now detailed and preserved some of the best costume designs from the 20th century.
4 comments:
It is mind blowing to think how large and small the world can be at the same time. I have never had the opportunity to travel over to Europe, and for the majority of my short life have seen it as this vast land of people that are more sophisticated than us simple Americans. Reading this article helped to bridge the European bridge. We hear the term "Theatre is universal" a lot, and it tends to roll off our backs because we never get the experience to travel to the rest of the world to experience our art form in different venues. It is comforting to know that theatre truly is a universal language whether it be in the form of costume history, scene designs, or even acting. Obviously, aside from the creation this fantastic exhibit, i was blown away from the actual costume pieces. It is inspiring to see such well made ornate clothing that has stood the test of time.
Nothing is more special than a celebration of artists' work from all corners of the globe--in the organization of an exhibit featuring costumes from various locations, various periods, and various perspectives all,our appreciation for diversity is enhanced immensely. One can be so focused in one's own theater community that taking a step back can often be jarring, yet it is an an ever-so-necessary moment to gain a new understanding of the art of costuming. By sharing and collaboration, one can truly begin to immerse oneself in a new culture, a new mode of thinking or processing information.
I want to start out by saying that I a m a little disappointed that I was not in attendance at what I can only assume is an amazing display of costume design and technology, I know that Susan Tsu helped curate the United states portion of the exhibit and that a lot of very well known and talented designers have their work displayed. I have recently seen the catalog for this exhibiton and I hope that it will be published as a book soon. I think it can serve as a vaulable resource for young designers, both as inspiration and as history. I think in order to know where our industry is going it is important to look at our past. How did previous designers use new technology? How can their visual aesthetic inform my own? These are all good questions to think about when looking at this exhibit through the eyes of a designer. I also think that the theatre industry has a harder time recording it's history than othe industries. These kind of exhibits help record and maintain our past.
I would have liked nothing more than be able to see this exhibit in person and am still holding out hope that one day it will be re-mounted in the states. We are lucky enough to have Susan Tsu here, who was on the united states curation team and has been able to give us glimpses of the exhibit. This exhibit has allowed aspiring costume designers and technicians to see how each country has been approaching design and the creation of costumes, as well as so beautifully archiving the top designers and costumes from each participating country. I feel that being able to see so clearly how each country approaches both the design and creation of costumes will greatly help us become better artists and open us up to new and innovative ways of creating garments. I can not think of another exhibit of theatrical costumes that has ever come close to the scale of this. With costumes, it is often hard to reassemble original productions and keep the clothing in a manner that we can later study, thanks to this exhibit, we have now detailed and preserved some of the best costume designs from the 20th century.
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