A SCHOLARLY BOOK REPOSITORY
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2 books by Kazuschyk, Kyla
2 books by Kazuschyk, Kyla
Theatre Symposium, Vol. 26
In Other Habits: Theatrical Costume
Sarah McCarroll
University of Alabama Press, 2018
A substantive exploration of theatrical costume
Stage costumes reveal character. They tell audiences who the character is or how a character functions within the world of the play, among other things. Theatrical costuming, however, along with other forms of theatre design, has often been considered merely a craft, rather than part of the deeply systemic creation of meaning onstage. In what ways do our clothes shape and reveal our habits of behavior? How do stage costumes work to reveal one kind of habit via the manipulation of another? How might theatre practitioners learn to most effectively exploit this dynamic? Theatre Symposium, Volume 26 analyzes the ways in which meaning is conveyed through costuming for the stage and explores the underlying assumptions embedded in theatrical practice and costume production.
THEATRE SYMPOSIUM, VOLUME 26
MICHELE MAJER
Plus que Reine: The Napoleonic Revival in Belle Epoque Theatre and Fashion
CAITLIN QUINN
Creating a Realistic Rendering Pedagogy: The Fashion Illustration Problem
ALY RENEE AMIDEI
Where'd I Put My Character?: The Costume Character Body and Essential Costuming for the Ensemble Actor
KYLA KAZUSCHYK
Embracing the Chaos: Creating Costumes for Devised Work
DAVID S. THOMPSON
Dressing the Image: Costumes in Printed Theatrical Advertising
LEAH LOWE
Costuming the Audience: Gentility, Consumption, and the Lady’s Theatre Hat in Gilded Age America
JORGE SANDOVAL
The RuPaul Effect: The Exploration of the Costuming Rituals of Drag Culture in Social Media and the Theatrical Performativity of the Male Body in the Ambit of the Everyday
GREGORY S. CARR
A Brand New Day on Broadway: The Genius of Geoffrey Holder’s Artistry and His Intentional Evocation of the African Diaspora
ANDREW GIBB
On the [Historical] Sublime: J. R. Planché’s King John and the Romantic Ideal of the Past
Stage costumes reveal character. They tell audiences who the character is or how a character functions within the world of the play, among other things. Theatrical costuming, however, along with other forms of theatre design, has often been considered merely a craft, rather than part of the deeply systemic creation of meaning onstage. In what ways do our clothes shape and reveal our habits of behavior? How do stage costumes work to reveal one kind of habit via the manipulation of another? How might theatre practitioners learn to most effectively exploit this dynamic? Theatre Symposium, Volume 26 analyzes the ways in which meaning is conveyed through costuming for the stage and explores the underlying assumptions embedded in theatrical practice and costume production.
THEATRE SYMPOSIUM, VOLUME 26
MICHELE MAJER
Plus que Reine: The Napoleonic Revival in Belle Epoque Theatre and Fashion
CAITLIN QUINN
Creating a Realistic Rendering Pedagogy: The Fashion Illustration Problem
ALY RENEE AMIDEI
Where'd I Put My Character?: The Costume Character Body and Essential Costuming for the Ensemble Actor
KYLA KAZUSCHYK
Embracing the Chaos: Creating Costumes for Devised Work
DAVID S. THOMPSON
Dressing the Image: Costumes in Printed Theatrical Advertising
LEAH LOWE
Costuming the Audience: Gentility, Consumption, and the Lady’s Theatre Hat in Gilded Age America
JORGE SANDOVAL
The RuPaul Effect: The Exploration of the Costuming Rituals of Drag Culture in Social Media and the Theatrical Performativity of the Male Body in the Ambit of the Everyday
GREGORY S. CARR
A Brand New Day on Broadway: The Genius of Geoffrey Holder’s Artistry and His Intentional Evocation of the African Diaspora
ANDREW GIBB
On the [Historical] Sublime: J. R. Planché’s King John and the Romantic Ideal of the Past
[more]
Theatre Symposium, Vol. 31
Theatre and the Popular
Edited by Chase Bringardner
University of Alabama Press, 2024
A new issue of the longstanding theatre journal, documenting conversations that traverse disciplinary boundaries
The essays in the thirty-first volume of Theatre Symposium traverse disciplinary boundaries to explore what constitutes the “popular” in theater and performance in an increasingly frenetic and mediated landscape. Amid the current resurgence of populist discourse and the enduring impact of popular culture, this volume explores what is considered popular, how that determination gets made, and who makes it. The answers to these questions shape the structures and systems of performance in an interaction that is reciprocal, intricate, and multifaceted. Productions often succeed or fail based on their ability to align with what is popular—sometimes productively, sometimes clumsily, sometimes brazenly, and sometimes tragically.
In our current moment, what constitutes the popular profoundly affects the real world politically, economically, and socially. Controversies about the electoral college system hinge on the primacy of the “popular” vote. Streaming services daily update lists of their most popular content and base future decisions on opaque measures of popularity. Social media platforms broadcast popular content across the globe, triggering new products, social activism, and political revolutions.
The contributors to this volume engage with a range of contemporary and historical examples and argue with clarity and acuity the interplay of performance and the popular. Theatre and performance deeply engage with the popular at every level—from audience response to box office revenue. The variety of methodologies and sites of inquiry showcased in this volume demonstrates the breadth and depth of the popular and the importance of such work to understanding our present moment onstage and off.
CONTRIBUTORS
Mysia Anderson / Chase Bringardner / Elizabeth M. Cizmar / Chelsea Curto / Janet M. Davis / Tom Fish / Kyla Kazuschyk / Sarah McCarroll / Eleanor Owicki / Sunny Stalter-Pace / Chelsea Taylor / Chris Woodworth
The essays in the thirty-first volume of Theatre Symposium traverse disciplinary boundaries to explore what constitutes the “popular” in theater and performance in an increasingly frenetic and mediated landscape. Amid the current resurgence of populist discourse and the enduring impact of popular culture, this volume explores what is considered popular, how that determination gets made, and who makes it. The answers to these questions shape the structures and systems of performance in an interaction that is reciprocal, intricate, and multifaceted. Productions often succeed or fail based on their ability to align with what is popular—sometimes productively, sometimes clumsily, sometimes brazenly, and sometimes tragically.
In our current moment, what constitutes the popular profoundly affects the real world politically, economically, and socially. Controversies about the electoral college system hinge on the primacy of the “popular” vote. Streaming services daily update lists of their most popular content and base future decisions on opaque measures of popularity. Social media platforms broadcast popular content across the globe, triggering new products, social activism, and political revolutions.
The contributors to this volume engage with a range of contemporary and historical examples and argue with clarity and acuity the interplay of performance and the popular. Theatre and performance deeply engage with the popular at every level—from audience response to box office revenue. The variety of methodologies and sites of inquiry showcased in this volume demonstrates the breadth and depth of the popular and the importance of such work to understanding our present moment onstage and off.
CONTRIBUTORS
Mysia Anderson / Chase Bringardner / Elizabeth M. Cizmar / Chelsea Curto / Janet M. Davis / Tom Fish / Kyla Kazuschyk / Sarah McCarroll / Eleanor Owicki / Sunny Stalter-Pace / Chelsea Taylor / Chris Woodworth
[more]
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