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Serving the production: Tanya Moisei...

Clayton-Gouthro, Cecile Michelle.

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Serving the production: Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Serving the production: Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design./
作者:	Clayton-Gouthro, Cecile Michelle.
面頁冊數:	383 p.
附註:	Adviser: Marilyn Baker.
Contained By:	Dissertation Abstracts International55-11A.
標題:	Education, Home Economics. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NN92144
ISBN:	9780315921443

Serving the production: Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design.
Clayton-Gouthro, Cecile Michelle.

Serving the production: Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design. - 383 p.

Adviser: Marilyn Baker.

Thesis (Ph.D.)--University of Manitoba (Canada), 1994.

Tanya Moiseiwitsch's theatre costume and set designs are particularly significant within Canadian theatre because of her association with and assistance in the development of the Stratford Festival. Her costume creations for Stratford spanned a period of 32 years and influenced numerous designers who followed. Through her association with the Festival, Moiseiwitsch contributed to the 20th century transplantation of British design tradition to North America. Moiseiwitsch's position within that tradition was clarified by tracing the development of the designer role in British theatre. Beginning in the mid 1930s, she helped to shape a more metaphorical, less decorative-oriented design approach, emphasizing a collaborative production process and incorporating aspects of Gordon Craig and Adolphe Appia's design theories. Studies pertaining to Tanya Moiseiwitsch's theatrical experience have described some of the strong and consistent characteristics in her work (Behl, 1981; Blom, 1982; Bundick, 1979; Stuart, 1974). The purpose of this study was to identify Tanya Moiseiwitsch's application of colour in Shakespearean costume designs and to add to our understanding of costume colour and characterization relationships. By examining selected costume designs from two Shakespeare plays, All's Well That Ends Well and Romeo and Juliet, created by a variety of designers in Britain, Canada and the United States, it was possible to distinguish Tanya Moiseiwitsch's approach to colour and characterization. Costume designs from selected theatres in all three countries were colour coded using the Pantone Professional Colour System to ensure accuracy in colour readings. Colour charts for each character provided a visual reference from which to establish characterization and colour relationships.

ISBN: 9780315921443Subjects--Topical Terms:

1020169
Education, Home Economics.

Serving the production: Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design.
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500 $a Source: Dissertation Abstracts International, Volume: 55-11, Section: A, page: 3431.
502 $a Thesis (Ph.D.)--University of Manitoba (Canada), 1994.
520 $a Tanya Moiseiwitsch's theatre costume and set designs are particularly significant within Canadian theatre because of her association with and assistance in the development of the Stratford Festival. Her costume creations for Stratford spanned a period of 32 years and influenced numerous designers who followed. Through her association with the Festival, Moiseiwitsch contributed to the 20th century transplantation of British design tradition to North America. Moiseiwitsch's position within that tradition was clarified by tracing the development of the designer role in British theatre. Beginning in the mid 1930s, she helped to shape a more metaphorical, less decorative-oriented design approach, emphasizing a collaborative production process and incorporating aspects of Gordon Craig and Adolphe Appia's design theories. Studies pertaining to Tanya Moiseiwitsch's theatrical experience have described some of the strong and consistent characteristics in her work (Behl, 1981; Blom, 1982; Bundick, 1979; Stuart, 1974). The purpose of this study was to identify Tanya Moiseiwitsch's application of colour in Shakespearean costume designs and to add to our understanding of costume colour and characterization relationships. By examining selected costume designs from two Shakespeare plays, All's Well That Ends Well and Romeo and Juliet, created by a variety of designers in Britain, Canada and the United States, it was possible to distinguish Tanya Moiseiwitsch's approach to colour and characterization. Costume designs from selected theatres in all three countries were colour coded using the Pantone Professional Colour System to ensure accuracy in colour readings. Colour charts for each character provided a visual reference from which to establish characterization and colour relationships.
520 $a Using established colour associations compiled by Pantone, costume colour and character interpretations were correlated. By researching numerous designers' applications of colour for the selected characters in the two productions, it was possible to determine pervasive cultural colour attributes existing both geographically and temporally. The research findings indicate that Moiseiwitsch's palette for these plays favored a low to medium hue saturation with an emphasis on the warm colour spectrum. Overall she applied a colour coding similar to that used by the other designers, but often used different hues having similar associative meaning.
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