Books by Sofia Pantouvaki
Performance Costume: New Perspectives and Methods, 2021
Even though costume has been dressing the performing body since the ancient world, methods for it... more Even though costume has been dressing the performing body since the ancient world, methods for its analysis are yet to be fully explored. Performance Costume draws on the experience of internationally renowned academic researchers and hands-on theatre, film and experimental performance practitioners to set out an alternative vision for exploring costume across time and place. From the actress on the Victorian stage to design for high quality contemporary TV, this text opens up a new awareness and dignity for costume to be considered
in and on its own terms.
Recent research has connected the study of costume with theories of the body and embodiment, design practices and artistic and other forms of collaboration in vital new ways; like fashion and dress, costume is now viewed as an area of dynamic social significance and not simply as a passive reflector of a preconceived social state or practice. Offering new approaches to research on costume, and exploring a wide variety of cultures, settings and performance contexts, Performance Costume reveals fresh insights into the better-known frames of historical, theoretical, practice-based and archival research into costume for performance, and considers it as an active agent for performance-making and a material embodiment of ideas shaped through collaborative creative work.
A genuinely groundbreaking expansion of the field of costume studies, this is an invaluable text for students and researchers of costume, performance, theatre and film studies and design.
Bookmarks Related papers MentionsView impact
TRIBES - A WALKING EXHIBITION, 2017
The Prague Quadrennial of Performance Design and Space 2015 (PQ 2015) included the Tribes project... more The Prague Quadrennial of Performance Design and Space 2015 (PQ 2015) included the Tribes project, a 'walking exhibition'. The Tribes was one of the three experimental additions to the main expositions of the Prague Quadrennial 2015. In The Tribes, the artefacts of the exposition were masked living people, while the exhibitions’ scenography were the public spaces of Prague. This book was conceived as a witness of The Tribes as well as a platform for an insightful analysis of the project. This volume has a double scope: First, to document the project and the experience of its participants — the artists, the performers and a select group of its audience. Second, this volume gives space to an analytical view on the Tribes, by unveiling the curator’s reflection and developing a dialogue that addresses the theory and practice of designing for the performing body and creating new dramaturgies through the costumed body in urban space.
Bookmarks Related papers MentionsView impact
A special edition of the ΕΝΔΥΜΑΤΟΛΟΓΙΚΑ (Endymatologika / transl. Costume Studies) journal publis... more A special edition of the ΕΝΔΥΜΑΤΟΛΟΓΙΚΑ (Endymatologika / transl. Costume Studies) journal published by the Peloponnesian Folklore Foundation. This issue is dedicated to the proceedings of the 2014 Annual Meeting of the International Council of Museums (ICOM) Costume Committee, held in Nafplion and Athens, Greece, on 7-13 September 2014. The meeting was organized by the Peloponnesian Folklore Foundation (PFF) and the Hellenic Costume
Society.
The thirty-two articles included in this volume are representative of the variety of approaches discussed at the Annual Meeting and cover a wide range of political angles related to dress: the identification of social class and distinction; dress and legislation; dress and religion; dress as a symbol of political struggle and resistance; dress cultures of men of power; uniforms and discipline; youth cultures; politics of consumption; media and popular culture; body politics and performance; politics of heritage, and strategies related to collecting, curating and exhibiting dress. The specific topics on which the articles focus relate to these perspectives in ways that intersect and complete one another.
Bookmarks Related papers MentionsView impact
Critical Costume 2015: New Costume Practices and Performances
Critical Costume 2015 presents c... more Critical Costume 2015: New Costume Practices and Performances
Critical Costume 2015 presents contemporary costume practices and performances by thirty two artists-researchers from three continents and various artistic backgrounds. The works examine the performative qualities of material and form - whether physical, digital or virtual - and stimulate the audience’s thinking to reconsider the role of costume in contemporary performance by proposing new modes of representation as well as new artistic processes. Moreover, the selected works explore how the scenographic body is constructed on a spatial, temporal and conceptual level through body manipulation, material exploration, embodied design and its interpretation.
Bookmarks Related papers MentionsView impact
This volume collects research and critical explorations of the performing body by scholars and pr... more This volume collects research and critical explorations of the performing body by scholars and practitioners in visual and performing arts, textile, fashion and experimental design research, scenography and costume design, dance and performance history. Authors examine performativity of the body, its materiality, immateriality, and virtuality, and investigate experiences of embodiment. They reenvision the body as a site for representation, exploring the absent body in performance and as performance through time and space. Contributors bring a broad variety of contemporary approaches, from live performance to mediated performance, from installation art to performance art, and from experimental fashion to theatre and dance. They discuss issues of process and meaning-making and practices from concept and interpretation to creative production and reception. The volume expands possibilities for the role of the body in performance, while also challenging roles and hierarchies of existing performance practice.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Papers by Sofia Pantouvaki
Bookmarks Related papers MentionsView impact
Studies in costume & performance, May 1, 2022
This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) ... more This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
This paper examines costume design in contemporary Greek theatre over a period of twenty years (1... more This paper examines costume design in contemporary Greek theatre over a period of twenty years (1985-2005) concentrating on theatrical productions in which folk dress is a point of reference for the design of theatrical costumes. The paper focuses on certain theatrical productions from the repertory of ancient drama, contemporary dramaturgy or musical theatre, not relating directly to folk dress due to their subject matter or historical context. The analysis of these productions demonstrates that the costume designers who studied, interpreted and subsequently introduced elements of folk dress in theatrical costume had in-depth knowledge of folk culture prior to these collaborations. Such examples are of special interest as they offer evidence that folk dress can provide expressive means for new artistic design in a broad sense here, through the artistic practice of costume design.
Bookmarks Related papers MentionsView impact
Studies in Costume & Performance, 2021
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
COSTUME: READINGS IN THEATRE PRACTICE, ALI MACLAURIN AND AOIFE MONKS (2015) London and New York: ... more COSTUME: READINGS IN THEATRE PRACTICE, ALI MACLAURIN AND AOIFE MONKS (2015) London and New York: Palgrave Macmillan, 173 pp., 978-1-137-02948-5, PaperbackBEHIND THE SEAMS, JAMES BELLINI AND SALLY ANGEL (2015) London: Morris Angel & Son Ltd., 176 pp., 978-0-9932983-0-1, Hardback
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Uploads
Books by Sofia Pantouvaki
in and on its own terms.
Recent research has connected the study of costume with theories of the body and embodiment, design practices and artistic and other forms of collaboration in vital new ways; like fashion and dress, costume is now viewed as an area of dynamic social significance and not simply as a passive reflector of a preconceived social state or practice. Offering new approaches to research on costume, and exploring a wide variety of cultures, settings and performance contexts, Performance Costume reveals fresh insights into the better-known frames of historical, theoretical, practice-based and archival research into costume for performance, and considers it as an active agent for performance-making and a material embodiment of ideas shaped through collaborative creative work.
A genuinely groundbreaking expansion of the field of costume studies, this is an invaluable text for students and researchers of costume, performance, theatre and film studies and design.
Society.
The thirty-two articles included in this volume are representative of the variety of approaches discussed at the Annual Meeting and cover a wide range of political angles related to dress: the identification of social class and distinction; dress and legislation; dress and religion; dress as a symbol of political struggle and resistance; dress cultures of men of power; uniforms and discipline; youth cultures; politics of consumption; media and popular culture; body politics and performance; politics of heritage, and strategies related to collecting, curating and exhibiting dress. The specific topics on which the articles focus relate to these perspectives in ways that intersect and complete one another.
Critical Costume 2015 presents contemporary costume practices and performances by thirty two artists-researchers from three continents and various artistic backgrounds. The works examine the performative qualities of material and form - whether physical, digital or virtual - and stimulate the audience’s thinking to reconsider the role of costume in contemporary performance by proposing new modes of representation as well as new artistic processes. Moreover, the selected works explore how the scenographic body is constructed on a spatial, temporal and conceptual level through body manipulation, material exploration, embodied design and its interpretation.
Papers by Sofia Pantouvaki
in and on its own terms.
Recent research has connected the study of costume with theories of the body and embodiment, design practices and artistic and other forms of collaboration in vital new ways; like fashion and dress, costume is now viewed as an area of dynamic social significance and not simply as a passive reflector of a preconceived social state or practice. Offering new approaches to research on costume, and exploring a wide variety of cultures, settings and performance contexts, Performance Costume reveals fresh insights into the better-known frames of historical, theoretical, practice-based and archival research into costume for performance, and considers it as an active agent for performance-making and a material embodiment of ideas shaped through collaborative creative work.
A genuinely groundbreaking expansion of the field of costume studies, this is an invaluable text for students and researchers of costume, performance, theatre and film studies and design.
Society.
The thirty-two articles included in this volume are representative of the variety of approaches discussed at the Annual Meeting and cover a wide range of political angles related to dress: the identification of social class and distinction; dress and legislation; dress and religion; dress as a symbol of political struggle and resistance; dress cultures of men of power; uniforms and discipline; youth cultures; politics of consumption; media and popular culture; body politics and performance; politics of heritage, and strategies related to collecting, curating and exhibiting dress. The specific topics on which the articles focus relate to these perspectives in ways that intersect and complete one another.
Critical Costume 2015 presents contemporary costume practices and performances by thirty two artists-researchers from three continents and various artistic backgrounds. The works examine the performative qualities of material and form - whether physical, digital or virtual - and stimulate the audience’s thinking to reconsider the role of costume in contemporary performance by proposing new modes of representation as well as new artistic processes. Moreover, the selected works explore how the scenographic body is constructed on a spatial, temporal and conceptual level through body manipulation, material exploration, embodied design and its interpretation.
We invite all interested parties to submit their proposals stating which presentation format you wish to be considered for:
• 20min paper presentation (title and 300-word abstract)
• Flash Talk presentations (title and 200-word summary)
• Exhibition or Installation work – physical or mediated object (title and 200-word description)
Deadline for the submission of proposals: 31 October 2014
Please submit your proposals online: HERE
Scenography Working Group, International Federation for Theatre Research
IFTR 2020, Galway, Ireland
13th July – 17th July 2020
https://www.iftr.org/conference
Theatre Ecologies: Environments, Sustainability, and Politics
Deadline for proposals: 31 January 2020
Scenography Working Group, International Federation for Theatre Research
IFTR 2018, Belgrade, Serbia
9th July – 13th July 2018
https://www.iftr.org/conference
THEATRE AND MIGRATION
Theatre, Nation and Identity: Between Migration and Stasis
PLEASE NOTE: Extended deadline for submission of abstracts is 31 January 2018.
SCENOGRAPHY WORKING GROUP
IFTR 2017, Universidade de São Paulo, Brazil
10-14 July, 2017
http://www.iftr.org/conference
Unstable Geographies, Multiple Theatricalities
Deadline for bursary applications: 22 December 2016
Deadline for proposals: 31 January 2017
“Space must be considered as a totality, like the society itself that gives life to it (...) Space must be considered as a set of functions and forms that arise through processes of the past and present.”
Milton Santos
The 2017 conference theme, Unstable Geographies, Multiple Theatricalities, aims at the political and economic issues underlying the territorial and symbolic conflicts of a globalized world and, at the same time, targets the expansiveness of theatrical and performative fields that recognize and surprise each other. Massive migrations and the growing deterritorialization of human cultures have been accompanied by increasingly unstable artistic standards, concepts and institutional relations.
The Scenography Working Group (SWG) of the International Federation for Theatre Research (IFTR) invites paper proposals for our forthcoming meeting at the IFTR annual conference in São Paulo in July 2017. The aim of the Working Group is to address design for performance in all of its theatrical forms (design of space/set, costume, sound, light, multimedia, objects, masks and makeup, etc.) and including events that may be staged well beyond conventional theatre buildings.
Theme
For our meeting in São Paulo we will be adopting the main theme of the IFTR conference (see above, and www.iftr.org/news/2016/october/iftr-conference-2017-universidade-de-são-paulo-10-14-july) which offers the opportunity to explore the discipline of scenography in relation to its geographies and theatricalities. Contributions may address (but are not restricted to):
Scenography and territorialisation
Scenography and the scenographic body as intervention or protest
Scenography as agency
Scenography and theatricality
Scenography and spaces of subjectivity: art and life
Spatialities of theatre and performance: shifts and displacements
Geographies and theatricalities of scenographic bodies: ethics, aesthetics and politics
Relations of artistic production: institutions and apparatuses
Flows and counterflows: theatre and performance as and in migration
Scenography in the contemporary world
Scenography as a perspective on, or way of thinking about, wider performance-making practices
The working group welcomes diverse responses to the above theme, and proposals from researchers from diverse disciplinary backgrounds as well as scenography specialists from all fields of performance design. The working group invites presentations in different forms (see below).
About the IFTR Scenography Working Group
This working group's research focuses upon the history, theory, aesthetics and practice of scenography through a specific program of meetings, presentations and publication. The group also aims to nurture and develop new contributions to practice-led research by providing opportunities for scenographers and designers to discuss their work and exchange ideas in an international academic forum. Our research investigates scenographic elements, (including: costume, setting, make-up, sound design, lighting design, projection design, masks, puppets and objects) and considers their proxemic relationship to performers and audiences in traditional and non-traditional spaces. Such research considers both contemporary practice and the influences of scenography on theatrical form and the audience experience of performance. By offering opportunities to share and discuss members’ research in a variety of formats, we aim to promote aesthetic, theoretical and philosophical investigations that are both distinct from and inclusive of technological developments for performance.
The Scenography Working Group welcomes early career researchers and postgraduate scholars (either as presenters or observer/participants) although they may also wish to contribute to the IFTR New Scholars programme, which may be more appropriate. IFTR rules prevent individuals from presenting more than one paper during the conference.
Working Group Co-convenors
Nick Hunt nick.hunt@bruford.ac.uk
Sofia Pantouvaki sofsceno@gmail.com
Format of Presentation
Following our successful ‘Shared Space’ symposium at the Prague Quadrennial in June 2015 where the Seminar/Provocation model was introduced, the Scenography Working Group invite proposals for the São Paulo meeting in EITHER of these formats:
1. Academic paper presentation (20 minute maximum) followed by questions
Abstracts will be double blind peer reviewed before acceptance. Papers (usually around 3,500 words) will be made available to participants two weeks before the conference. Presenters are encouraged not to read papers in full, but to guide the audience through the main arguments and ideas. The formal presentation will be followed by a question and answer session to promote in-depth discussion and constructive debate within a supportive environment. This format is ideal for those looking for feedback prior to a future submission for publication.
2. Seminar Proposal / Provocation for focused group discussion (15 minute maximum)
Presentation will be followed by small group discussions responding to the themes of the provocation. Abstracts will be double blind peer reviewed before acceptance. An outline of the proposal/paper will be made available to participants two weeks before the conference. This format is useful in developing ideas, connections and gaining further theoretical insights as part of the process of research within a supportive environment.
Submission Procedures
Submission must be done through the IFTR registration process (see links below). After you submit your abstract through IFTR, please also email a copy to the conveners. Please ensure you make it clear if your proposal is for an academic paper or a seminar/provocation.
The deadline for submission of abstracts is 31 January 2017. (If you applied for a bursary by 22 December 2016, you also have to submit your abstract via the conference website by 31 January 2017.)
Please note that to submit an abstract for consideration you must be a member of IFTR. To present at the World Congress each member will need to buy membership of IFTR and in Spring 2017 register and pay for the conference (IFTR operate a banding system and a number of concessions are available).
Additional information such as the form the proposed submission will take and any information about restrictions to your availability over the course of the IFTR World Congress should be included on the online form under ‘equipment required’ and MUST be discussed (via email) with the Working Group co-convenors.
We anticipate that the process of peer review and presentation as part of the working group’s proceedings will be beneficial to the process of publication in a range of peer-reviewed published volumes in the field.
Please note: IFTR rules prevent individuals from presenting more than one paper during the conference.
Links
Working Group Co-convenors
Nick Hunt nick.hunt@bruford.ac.uk
Sofia Pantouvaki sofsceno@gmail.com
IFTR website
www.iftr.org
IFTR bursary information
www.iftr.org/news/2016/november/iftr-conference-2017-sao-paulo-bursary-application
IFTR membership and registration at Cambridge Journals Online
journals.cambridge.org/iftr
IFTR abstract submission at Cambridge Journals Online
www.cambridge.org/gb/academic/abstract-submission-form-iftr-2017-conference
Bursaries
IFTR supports researchers suffering financial hardship by providing a limited number of bursaries each year. These bursaries are awarded on the basis of merit, relevance to the conference or Working Group theme, and financial need. Please visit www.iftr.org for information and instructions about bursaries, and to download the application form.