DSCZ502 Costume II

Theatre Faculty
Winter 2023
Extent and Intensity
1/4/4. 3 credit(s). Type of Completion: zk (examination).
Teacher(s)
doc. Mgr. Jana Preková (lecturer)
Guaranteed by
doc. MgA. Marie Jirásková, Ph.D.
Set and Costume Design Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Supplier department: Set and Costume Design Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Timetable
Tue 16:15–17:45 uc_C, Fri 14:30–16:00 uc_C
Prerequisites
Completed study of I. and II semester I. Year. Atelier Scenography, other art schools
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.
fields of study / plans the course is directly associated with
Course objectives
Independence in the choice of topics, concept, processing, possibility of realization of author's work is assumed. Post-dramatic performativity and current topics of ecology, queer gender and others reflected in body/costume staging. Students devote themselves to the author's visual, processing of the topic, organized by post-dramatic or other methods of approach, which is researched and conducted as experimental. Researching and formulating new body/costume possibilities (transhuman, AI, non-anthropocentric) as part of an artistic statement and the role of clothing in social projects that go beyond classical dramatic formations. To look for technological possibilities of the 21st century in connection with the architecture, mobility, luminosity of the costume and its meaning statement and to work with fashion and street trends that represent the current socio-political ideological and spiritual atmosphere of society. Current state of self-presentation, connection to social network strategies. The ability to create (design) "stories and roles" of participating actors, when each of us is a performer and a spectator. A specific topic of interest is transhumanism. We process the political-historical, social-performative, aesthetic, emotional, philosophical or material qualities that the initial theme contains and apply them in the approach to the body, clothing, costume. We deal with the relationship of the body, the costume to the physical and media space. The source topic is based on the texts of contemporary world literature, which the students find themselves. A text or theme is considered an open starting point that is freely associated, reduced or deconstructed. It is understood as a "liquid" resource. The topic is situated in non-theatrical spaces, an event is offered that is "curatorically" dramatized and designed. The question of actors is open to new forms of approach to the specificity of the concept, the student examines the influence of social network strategies. This circumstance creates new paradigms in the approach to costume/ clothing and the body (physicality), the students have the task of discovering and verifying the implementation of the task. The students examine the above-mentioned qualities as fluid and fragile parts of an event that is only staged and manipulated to a certain extent. Part of the task is also an examination of the role of the viewer and the performer. They investigate the possibilities of exchanging these roles, the question of the actuality and development of self(re)presentation, distance, sharing, and study other possibilities of personal or group involvement. They work on the strategy of social networks, with an approach to self-presentation, self-objectification and self-presentation, which in media contexts are connected with the staging of oneself as an object. The costume's grasp of the theme is thus transformed into an existential image without the need for linear formulas or narrative strategies, which, like physical objects, are freed from established relationships and subjected to revision. From critical situations, new narrative processes can emerge, reflecting the students' individual processes. With the frequency of similar attempts at a new understanding of staging (se), research in this field is necessary. The interviews are conducted in groups within the studio all the time.
Learning outcomes
The student has knowledge in the area of social-artistic and creative-dramaturgical strategies and manipulations, in connection with solving the time-space organization of a work staged or shared in non-theatrical spaces in connection with the costume. He has knowledge of new forms of post-dramatic and deconstructive work with text, space, material, object, light and sound. He has knowledge of new trends in staging, which are also reflected in classical theater practice. He understands the costume in its current context as a "role" self-presentation tool. He works and develops the topic of clothing, its functions and shifted meanings in the current social context. Recognizes the signs and symbolism of clothing, which acts as a communicator of situations and relationships, can distinguish signals, knows advertising and social clichés, film and conceptual strategies that use these signs. He deals with the philosophy and technique of kitsch. The student is able to recognize current trends that lead to the creation of an author's work critically transform, innovate already given staging procedures and work with the text or theme. He orients himself in morphology, works with the multi-layered visual elements of the costume. The student can practically process new philosophical paradigms and reflect them through practical artistic activity. He can perceive meaning as an image, body as a story, space as a project. He studies the shows of fashion designers who were able to create a vision. Can work with opposing approaches. He actively participates in the search and creation of new artistic paradigms through his work. He is able to practically process theoretical knowledge into a costume that accurately communicates meaning, uses practical experience with new and historical technologies and costume construction. He implements the topic practically and communicates with other project participants. He is able to successfully create, explain, develop in dialogue and preactly complete a costume concept. She works procedurally, she is capable of sensitive perception when communicating with actors or other actors of the project. She documents and records the process, experience and final shape so that she is able to continue and develop the concept in other projects. The student is qualified to work in international, creative teams as an active member of the conceptual management of the project. She is capable of independently guiding her artistic intentions, reflecting and creating new patterns of strategies. She is qualified to work in the field at a prestigious level. The student can handle complicated questions and topics in a creative and dramatic way of expression. The student manages to apply and connect knowledge from the independent creation of art projects with a creative approach to artistic operation. The student understands the functioning of complicated social-artistic projects at a top level. The student can compare the principles of classical and experimental projects and work with the ambivalences of contemporary artistic strategies. He can apply the principles of costume creation in a non-theatrical approach to a wider field of project activities.
Syllabus
  • I. What is performativity, what are the possibilities of staging, is it possible to have zero burden of drama...? (Assignment of the topic, interviews about the personal perception of clothing as a self-presentation tool, the image (Imágo). We examine physicality in contemporary socio-artistic conditions, the body as subject and object, we deal with an illusory approach and romantic and commercial qualities in fashion tactics, self-objectification in the presentation of political or social, aesthetic, gender and other strategies that are hidden under the term "role". II. When does social space become dramatic or exhibitionist? (The student independently chooses a topic as a source of inspiration for the creation of his own project. The text is a guide to the emerging personal story, it can also be in conflict with it. He collects (historical and contemporary) material that will help him define the nature of opening, managerial, military , work uniforms, dress codes, ethno and eco designs and other forms of tribal expression. It defines the symbolic meaning value of clothing in connection with contemporary visual culture). III. What is the authentic and stylized articulation of the garment? When and where does a garment become a costume? It examines how the personal stories that we present through our "roles" intertwine and thus form a collage in which combinations of what is presented collide and thus define the spirit of the time? (The student's task is to try to articulate period stylizations of clothing in relation to . Processes the collected inspirational material, looks for ways to approach the topic in relation to the current context. Creates sketch material of types and roles that are related to the topic). IV. What are the aesthetic and content relationships of clothing to a certain space and situation? The student chooses examples of modernist and postmodern clothing icons. He studies the sources of style creation, retro trends, pop and post-party strategies of stars that manipulate the crowd. Explores the conditions of personal identity work... Explores the scope and power of fashionable commercial strategies and oppositional movements. He verifies the conceptual starting point of the chosen topic, the conceptual source of the concept. What references do current fashion trends offer? How does the "personal story" develop relative to the original theme? V. Is it possible not to be a performer when everything is staged? The roles of actor and spectator lose their contours. Does the role lead to depersonalization and loss of responsibility, or does it change the relationship to the ego and the reference values of the individual and the group? How is the function and politics of self-presentation in the 21st century in connection with feminism, gender politics, loss of vitality, fertility in different types of society? What are the future outcomes of these facts? What are the self-presentation tactics thanks to social networks? Is it possible to accept reality as post-truth? (Personal story His floor plan, game plan, relationship structure, costume options, scene sequence sketch) VI. What are our emotions? To what extent do we present them with clothing? Discussion of representational strategies in contemporary art in relation to the body and clothing, issues of body design VII. The theme of emptiness, which constitutes distance, the quality of the interval, the emptying of meaning, the loss of direct continuity, the change of paradigms. This creates the possibility of fluidity and overlapping of contexts. Are we creating an induction field between subjects and objects, or are we emptying relationships? What is the value of just sharing the "being here and observing the observation" situation? (Under what conditions does the performance begin and end? Researching the narrativity of materials, presenting current possibilities through new technologies). VIII. Direct ratio of macro and micro stories. What socio-political and spiritual, ethical conditions form the commercial slogan: Be the manager of your own life? We examine inconclusive situations, we flow through projects, we are shaped by them, the symbolism is unclear. Are we independent of archetypes because they do not belong to our way of perception? To what extent do we solve the shadow issue? (Presentation of previous work - scene sequence consultation, analysis and verification of the concept, essential mission of the project). IX Analysis of the ethics of elites, otherness, assessment of clothing expressions of these phenomena in the history of nations. The spirituality of clothing. Social impacts, reactions of art operations. Micro story versus macro strategy. (Process - examination of the reflection of the given topics in the current state of the project, Searching and refining a new way of narration, technological issues of the project, defining them) X. Conceptual, dramaturgical-logistic aspect of the project, strategy of movement of spectators/performers along the lines of points of interest. Four types of viewer (exhibition visitor). Leading the choreography of the group, the geometry of relationships
Literature
  • Fashion Today, Colin Mc Dowel, Phaidon, London 2000 The fashion book, Phaidon 1998. info
  • L. Kybalová, Dějiny odívání, 1996. info
  • L. Kybalová, Encyklopedie módy, 1973. info
  • c
  • Elias Canneti, Masa a moc, Academia, 2007, ISBN 978-80-200-1512-9
  • PŠENIČKA, Martin: Postdramatické divadlo Hanse-Thiese Lehmanna.Divadelní revue 2008, č. 3.6.
  • Han, Byung-Chun,Vyhořelá společnost, Rybka Publishers, 2016, ISBN: 978-80-87950-05-0 ,
  • Gilles Lipowetsky, Soumrak povinnosti, PROSTOR,2011 , ISBN 9788072602377
  • CARLSON, Marvin. Dejiny divadelných teórií. Bratislava: Divadelný ústav, 2006.
  • CURRAN, J. Daniel; RENZETTI, M. Claire. Ženy, muži a společnost. Praha : Karolinum, 2005. ISBN 80-246-0525-2. S. 644.
  • FISCHER-LICHTE, Erika. Dejiny drámy. Bratislava: Divadelný ústav, 2003.
Teaching methods
Regular tuition * Number of contact teaching hours per week: 4 * Number of hours of independent student work per week: 6 Lectures, dialogue, consultation, independent work, project creation, tactical part, documentation, portfolio, written essay, defense at the final exam
Assessment methods
Classified credit based on the submission of all components of the work (from research to recording) and public presentation of the project during closings, 3 pages of text - reflection
Language of instruction
Czech
The course is also listed under the following terms Winter 2014, Winter 2015, Winter 2016, Winter 2017, Winter 2018, Winter 2019, Winter 2020, Winter 2021, Winter 2022, Winter 2024.
  • Enrolment Statistics (Winter 2023, recent)
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