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The theatre costumes of Leon Gischia...

Botkin, Mary Madeline.

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The theatre costumes of Leon Gischia: A study in aesthetic experience (France).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The theatre costumes of Leon Gischia: A study in aesthetic experience (France)./
作者:	Botkin, Mary Madeline.
面頁冊數:	215 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1883.
Contained By:	Dissertation Abstracts International64-06A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3095451

The theatre costumes of Leon Gischia: A study in aesthetic experience (France).
Botkin, Mary Madeline.

The theatre costumes of Leon Gischia: A study in aesthetic experience (France). - 215 p.

Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1883.

Thesis (Ph.D.)--University of Minnesota, 2003.

In previous historical costume research there is little indication of Léon Gischia's costume designs. Created under a socially conscious paradigm in theatre in 1947 led by Jean Vilar, Gischia's designs represent a movement towards popular education and an aesthetic related to other art forms. My research was focused on the question of the significance of Gischia's designs within the context of post-World War II France.Subjects--Topical Terms:

522973
Theater.

The theatre costumes of Leon Gischia: A study in aesthetic experience (France).
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245 1 0 $a The theatre costumes of Leon Gischia: A study in aesthetic experience (France).
300 $a 215 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1883.
500 $a Adviser: Gloria M. Williams.
502 $a Thesis (Ph.D.)--University of Minnesota, 2003.
520 $a In previous historical costume research there is little indication of Léon Gischia's costume designs. Created under a socially conscious paradigm in theatre in 1947 led by Jean Vilar, Gischia's designs represent a movement towards popular education and an aesthetic related to other art forms. My research was focused on the question of the significance of Gischia's designs within the context of post-World War II France.
520 $a I conducted field research in Avignon, France at the <italic>Maison Jean Vilar</italic>. I photographed the costumes and sketches for the play <italic> Richard II</italic>. I also interviewed people involved with the theatre and conducted research in the museums's media center. On return I performed an artifact analysis and used the hermeneutic approach to interpret the aesthetic experience of the interviewees.
520 $a I found that the significance of Gischia's designs was linked to form and time context. The costumes and decor designed by Gischia for <italic> Richard II</italic> demonstrated a unique use of space and color. Gischia's knowledge of medieval art and the Fauvist palette he developed in his painting oeuvre were reflected in his work for the theatre. The intense color of the costumes set on an empty stage with the night sky as background proved to be a memorable experience for those present. In addition, the exceptional time framework he worked in contributed to the quality of experience for the audience. The cultural atmosphere after World War II in France hosted the desires of people for a new order. And because of the dedication of Jean Vilar, popular education through theatre gained prominence in the restructuring of France in 1947.
520 $a This study has contributed to the field of costume history by broadening the parameters of visual culture to include theatre costume. It brings to the forefront issues related to design such as popular education and the access of cultural events to the public. Since the field is dominated by issues of fashion created for the upper classes, the study of Gischia's work exposes currents of thought during the era that were engaged with the creation of a better world for all members of society.
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790 1 0 $a Williams, Gloria M., $e advisor
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791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3095451