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Abstract(s)
A necessidade de desenvolver e aprofundar a relação entre o traje histórico e o figurino, parte de uma preocupação artística, que define uma linha de pensamento no trabalho de um figurinista.
Pretende-se com este trabalho explorar no figurino as possibilidades de reinventar o traje para as cenas do teatro e segundo uma visão contemporânea.
Com o intuito de contextualizar o objeto de estudo, desenvolve-se um estudo a partir de duas abordagens para o tratamento das referencias de época através do figurino: partindo do reconhecimento iconográfico, faz-se uma análise da imagem enquanto forma de justificar sentidos de uma época transpondo-a para a atualidade e, seguindo o conceito de segunda pele de Taïrov, desenvolve-se a exploração dos potenciais e das limitações do vestuário de carácter histórico, no trabalho de criação de personagens com intérpretes, através de um laboratório experimental. A partir da documentação deste processo, a relação corpo/traje é utilizada como ferramenta na criação de figurinos.
Neste caso, a investigação dá aso à criação, e na concretização dos figurinos para a ópera L’heure Espagnole, de Maurice Ravel. A pesquisa teórica serve-nos de base de sustentação para o design de figurinos desta ópera, que pretende distanciar-se da abordagem realista em prol de um design que se serve do signo para abordar com um olhar atual, dois períodos históricos distintos.
The aim to develop and deepen the relation between the historic costume and the scenic costume, relates to an artistic concern that defines a line of thought in the costume designer’s work. It is intended with this paper to explore the costume’s possibilities of reinventing the historical costume in the conception of scenic costumes according to a contemporary vision. To contextualize the object of study, two different approaches in the treatment of historical costume design are analyzed; From an iconographic recognition, an analysis of image is made in order to justify the senses of an historic period transposed to the present, adopting the Taïrov’s concept of second skin, an exploration is made of the potentials and limitations of historical garments in the creation of a character with singers in an experimental laboratory. From the following documentation of this laboratory, the study that comes of this relation between body/garment as an implement in costume design is put to use. In this case, investigation leads to creation. The concretization of the project takes place with the design of costumes for the Opera L'heure espagnole, from Maurice Ravel. The theoretical research offers the base support to the design for these operas witch aims to set apart from the realistic approach in exchange for a design that makes use of the sign to approach two different periods with a contemporary look.
The aim to develop and deepen the relation between the historic costume and the scenic costume, relates to an artistic concern that defines a line of thought in the costume designer’s work. It is intended with this paper to explore the costume’s possibilities of reinventing the historical costume in the conception of scenic costumes according to a contemporary vision. To contextualize the object of study, two different approaches in the treatment of historical costume design are analyzed; From an iconographic recognition, an analysis of image is made in order to justify the senses of an historic period transposed to the present, adopting the Taïrov’s concept of second skin, an exploration is made of the potentials and limitations of historical garments in the creation of a character with singers in an experimental laboratory. From the following documentation of this laboratory, the study that comes of this relation between body/garment as an implement in costume design is put to use. In this case, investigation leads to creation. The concretization of the project takes place with the design of costumes for the Opera L'heure espagnole, from Maurice Ravel. The theoretical research offers the base support to the design for these operas witch aims to set apart from the realistic approach in exchange for a design that makes use of the sign to approach two different periods with a contemporary look.
Description
Keywords
Figurino Traje Personagem Processo Espectador Scenic costume Period costume Character Creative process Spectator