The object is present
DOI:
https://doi.org/10.34629/rcdmt.vol.1.n.1.pp158-171Keywords:
Costume, Fashion, Artistic object, Theatricality, Meta-costumeAbstract
In this paper I explore the issue of the use of clothing, per se, on the assumption of the absence of the body. As an object — the garment — In the aftermath of a social character or a show. So once considered as an artistic object it becomes part of a new staging that presents it, and stars it as if it were a kind of transversal character either from Theater and Fashion operating in the sphere of Contemporary Art.
In order to support the objectual displacement of the costume, proposing the designation of meta-costume, I start from the enunciated keywords, hoping to contribute to amplify the debate, insofar as it approaches the possibility of a relational perspective between the object and the field of forces that, normally, involve a physical and emotional relationship between human beings.
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References
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Féral, Josette, e Ronald P. Bermingham. 2002. “Theatricality: The Specificity of Theatrical Language.” SubStance 31 (2/3): 94-108. https://doi.org/10.2307/3685480.
Fernandez, Laure. 2010. “Théâtralité et Arts Visuels le Paradoxe du Spectateur. Autour «The World as a Stage» et «Un Teatre Sense Teatre».” Marges 10: 25-36. https://doi.org/10.4000/marges.
Germain, Alain. 1999. “Les Museés en Spectacle,” La Lettre de l’OCIM 65: 22-26. Disponível em https://doc.ocim.fr/LO/LO065/LO.65(3)-pp.22-26.pdf.
Huchard, Colette. 2010. “Le Costume: Évolution et Transformation d’un Langage.” Études Théâtrales 49 (3): 161-163. https://doi.org/10.3917/etth.049.0161.
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