Dance Costumes on Display: Reflections and Practice

Activating the Inanimate

Series Editors

Dr Robert Fisher Lisa Howard Dr Ken Monteith Dr Daniel Riha

Advisory Board

James Arvanitakis Mira Crouch Simon Bacon Stephen Morris Kasia Bronk John Parry Jo Chipperfield Karl Spracklen Ann-Marie Cook Peter Twohig Phil Fitzsimmons S Ram Vemuri Peter Mario Kreuter Kenneth Wilson

A Critical Issues research and publications project. http://www.inter-disciplinary.net/critical-issues/

The Ethos Hub ‘Performance’

2013

Critical Issues

Activating the Inanimate:

Visual Vocabularies of Performance Practice

Edited by

Celia Morgan and Filipa Malva

Inter-Disciplinary Press

Oxford, United Kingdom

© Inter-Disciplinary Press 2013 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi-disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 ISBN: 978-1-84888-121-1 First published in the United Kingdom in eBook format in 2013. First Edition.

Table of Contents

Introduction vii Celia Morgan Part 1 Archetypes and Experimentation in Theatrical Visual Languages: From the Dramatic to the Post-Dramatic Symbolic Language and the Mythical Middle Ground 3 Celia Morgan Looking at Postdmodern Performances of Canonical Plays 15 Bilha Blum The Full and the Void in the Theatre of Robert Wilson 23 Marcelo de Andrade Pereira The Power of Images in Performance: Josef Svoboda’s 31 Scenography for Intolleranza 1960 at Boston Opera Company Barbora Příhodová Part 2 Materiality and Meaning: Visual Agency of the Inanimate Loïe Fuller and her Legacy: The Visual and the Virtual 43 Liora Malka Yellin Little Cinderella, Big Cinderella: Scenography as Performance 55 Filipa Malva Visionary Voice / Silent Clown 67 Andrew Cope Bioscenography: Towards the Scenography of 75 Non-Representation Parjad Sharifi Part 3 Embodied Meaning: The Performative Costume, Its Origins and Destinations From Verbal to Visual: Shakespeare’s Imagery of Clothes 87 as Metaphor, Symbol and Concept for Costume Design Pnina Black Porter Emotion and Memory: Clothing the Body as Performance 97 Jessica Bugg

Dance Costumes on Display: Reflections and Practice 109 Sofia Pantouvaki Addressing the Absent: Drawing and Scenography 123 Kate Burnett Part 4 Intervention and Interaction: Performance, the Public and the Technological Interface The Explanatory Frame 141 Myer Taub Burning Man: Scenography for the Masses 153 Virginia L. Vogel Performance Art as Intervention in Everyday Life: 165 Participation, the Public Sphere and the Production of Meaning Alexandra Antoniadou Where is the Performance? What has Become of It? 175 Myfanwyn Ryan Old Arts in New Media: Qualified Onotologies of ‘Live’ 185 in the Age of Media Casting Adele Anderson Part 5 Interpretation and Methodologies: The Construction of Subjectivity in a Performative Cultural Discourse ‘Seed of the Image’: Image Metaphor as a Strategy of 199 Creative Process and Ideological Resistance Chee-Keng Lee Making from Scratch: A Transdisciplinary Research into 209 the Historical and Social Production of Subjectivity Haya Cohen Dancing Clowns and Desert Dunes: Challenging Traditional 219 Imagery in Flamenco-Fusion Idit Suslik Distance in Time and Space: Fictional Medieval Constructs 229 of the Indian Other in the Colonial Imaginary Sarah Bonnie

Dance Costumes on Display: Reflections and Practice

Sofia Pantouvaki

Abstract Curating performance costume in exhibitions raises issues as to how to convey the ‘true’ feeling of the garment within a motionless environment, in the absence of the main elements which influenced the costume’s original creation. Can the actual, original, spirit of the costume be documented and/or presented in an exhibition, where movement is only implied? This chapter investigates dance costumes seen as performative works of art taken out of their original context and presented as a ‘fragment’ of the performance within a new context. The aim is to investigate the choices involved in the curatorial and design processes, where poses and gestures, as well as the positioning of the garments in a given space, contribute to the interrelation of dance costumes with the original sense of their motion-related presence in that very space. In a certain sense, one costume becomes another when shown at an exhibition, where new notional and spatial metaphors are created. Multiple curatorial questions are examined in order to explore documented movement, personal narrative and the given space as sources of inspiration when conceptualizing a dance costume presentation. Key Words: Dance, costumes, exhibition, display, curation, narrative, body, movement, space.

***** 1. Introduction

Costumes are made to dress performers: they are part of the dramatic environment of a performance, presented within a specific space and subject to special lighting, and above all worn by the living, moving body of the performer on stage. In dance costumes, the emphasis is on movement in an even more defined sense. A costume designer is inspired by the dancer’s movement, while also visualising and suggesting how the style of the costume will contribute to the choreography. ‘Working closely with choreographers and performers in dance and ballet companies offers a very immediate collaboration’ writes Kate Burnett, and she goes on to emphasize, ‘clearly, costume and movement are, or should be, integrated.’1 A costume for dance is therefore designed in the knowledge that it will be seen in motion. Hence the components of a dance performance—the music, the rhythm and the performer’s body—are all integral parts of the dance costume.

In this study I investigate dance costumes on display seen as performative works of art taken out of their original context and presented as a fragment of a performance within a new context. An exhibition is destined to perform costume in the absence of the main elements which inspired, influenced and completed the

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costume’s original creation. Therefore, I consider the exhibition as another type of performance: as a new performance in which the body of the performer does not participate. Moreover, without a performer, the costume is presented in the absence of the body’s movement. Another aim of this study is then to explore the function of a dance costume when not shown in movement, but being presented in a new context and in a new architectural space.

2. Dance Costumes on Display

Dance is interrelated to movement; it is both defined and described as rhythmical movement to music.2 Gay McAuley considers that movement in performance is defined in relation to stillness and recognizes that ‘the absence of movement is as important as movement.’3 Joanne Entwistle, who has identified the notion of embodiment in the dressed body, argues that ‘the body is a dynamic field, which gives life to dress’4: ‘without a body, dress lacks fullness and movement; it is incomplete.’5 Moreover, Claire Wilcox maintains that ‘the issues of movement, motion and dynamism […] are central to dress and the core of the challenge to exhibitions of dress.’6

In dance costumes, it is the movement of the body that gives meaning to the costume. Dance costumes are designed to be part of the body’s movement: they are based on it and inspired by it. In contemporary dance, in particular, costumes become integral to the choreography, modifying the body form7 and, at times, replacing scenography, thus acquiring new spatial dynamics. The lack of natural, physical movement is thus a major issue to explore when displaying dance costumes in exhibitions.

Curating theatrical costume in exhibitions raises issues as to how to convey the ‘true’ feeling of the garment within a motionless environment. Costume is a component of the visual narrative of performance. Costumes embody meanings and narratives; they ‘conceal a rhetoric power, both as a semiotic code and in [their] close relationship to the body.’8 Also, a metaphorical power is embedded in a costume, which is part of the holistic scenographic visual metaphor.9 From this perspective, costume design becomes a ‘generator of performance through design.’10

The different aspects of costume in display include the visuality and textuality of the costumes as material objects. Thus, at the same time, the costumes document a past performance and function as visual messengers carrying information and creating links to their original presentation. Consequently, in each costume there is a triple character: a visual, a notional and a physical one. Any one of these aspects can initiate a concept for the costume’s ‘new performance’ within the exhibition context.

Parallels can be drawn between curating costume in exhibitions and curating fashion. During my theoretical research, I have looked at three types of exhibition relating to dress and costume: a) museum exhibitions of fashion11 and costume12:

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b) independent fashion exhibitions and installations13: and c) exhibitions of costumes designed for performances.14 I have also looked at costume exhibitions dedicated to dance costumes, such as the La Scala costume exhibition Costume Dresses the Music15 in Milan, and the designer Yannis Metzikof’s retrospective at the National Gallery in Athens.16 3. Reflections Put Into Practice: The ‘Yannis Metsis: Athens Experimental Ballet’ Exhibition

The performative character of costume in exhibition has been the main focus of my research in practice when undertaking the project to curate and design the exhibition entitled ‘Yannis Metsis—Athens Experimental Ballet.’ This exhibition presents the work of the Greek dancer, choreographer and teacher Yannis Metsis and his own dance group, the Athens Experimental Ballet, which performed from 1965 until 1990. The project was commissioned by the Foundation Hellenic World in cooperation with the Peloponnesian Folklore Foundation, hosted at the Cultural Centre Hellenic Cosmos in Athens.17

The main materials presented in the exhibition are the dance costumes designed by Liza Zaimi, a friend of Metsis and co-founder of Athens Experimental Ballet. Zaimi originally trained as a painter, which is evident in her work, as many of the costumes are hand-painted by her. Painting was both a need—due to lack of funds—and an aesthetic decision of her own. This provides an additional element to be considered: the value of the costumes as works of art. A detailed study of the costumes revealed a variety of painting techniques and media, as well as diverse visual styles, ranging from representation and ornamentation to expressionism and abstraction. My curatorial work as well as my design for the exhibition was intended to shed light on the artistic value of the costumes, while also highlighting the close connection between the costume design and Metsis’ choreography, as oral testimony informs us that Metsis and Zaimi worked together closely.

An important factor that should be mentioned with regard to this project is the lack of funding; the exhibition was produced under extreme financial pressure.18 Another limitation was the fact that I was working with archival material in a museum setting. The costumes were sensible—a common fact when working with historical material. As Judith Clark notes, ‘there are clearly many issues where curatorial interest and conservation integrity are and will be at odds.’19 I worked with three textile conservators20 who donated their work of preventive conservation. Another compromise—in terms of the protection of the costumes—was that it was not possible to design closed display units. Therefore, the costumes were placed in ‘open spaces’ and the lighting design was aimed to express a theatrical experience, while also controlling the brightness of light on the costumes. These conditions, however, facilitated the expressive character of the costumes, which were kept at close distance and in direct contact to the viewers.

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Designing the space for the Metsis exhibition has been ‘a type of scenographic practice in its own right.’21 I searched for themes and narratives in the costumes, their background and their original character as dance costumes. I have been particularly interested in exploring movement as a source of inspiration for conceptualizing the presentation of the costumes. Summarising my practice, I identify four main aspects that formulated the curatorial concept of the ‘Yannis Metsis—Athens Experimental Ballet’ exhibition:

- Inspiration drawn from the choreography, as documented on

photographs and some rare video recordings. - Inspiration drawn from the bipolar absence-presence of the

dancers’ bodies. - Inspiration drawn from the oral narratives accompanying the

costumes. - Inspiration drawn from the given space where the exhibition

was presented. Looking at the choreography, I studied in detail the photographs of the

performances as a visual reference not only indicating the movement and the style of the choreography but also testifying to the original aesthetic style of the visual presentation on stage. Metsis’ and some dancers’ personal archives provided production photographs made during the performance. As McKinney and Iball remark, ‘photographs appear to offer themselves as the most accessible evidence of a historical performance, but here, too, there are limitations,’ one of which is the fact that ‘photographers make their own aesthetic judgements in framing and selecting the images,’22 even where photographs are made during a performance. In the case of Athens Experimental Ballet, the discovery of some backstage photographs and of several other photos where the photographer developed a different artistic viewpoint provided additional research material. We should also consider ‘the static nature of the photographic image, which can only infer the time-based aspects of scenography: shifts in lighting, transformations of the stage space, the movement of costumes and materials.’23 Therefore, the movement was only implied by the existing visual evidence, while recordings on film and video were very few. These photographs served as source of inspiration.

The installation of the expressionistic neoclassical ballet Nomine Jesu24 (1975) is an example of how the frozen photographic image of the movement inspired the performance of the costumes in the exhibition space. The Nomine Jesu costumes consist of large liturgical-style cloaks, fully covering the dancers’ bodies, sprayed with linear decorations in earth colours. In the exhibition, they were placed directly on the floor, thus breaking the convention of using platforms to define the limits of the display. The costumes extended throughout the exhibition space, their display indicating different gestures and positions inspired by the gestures and postures of

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the dancers’ bodies as shown in the production photographs (image 1a). Technically, the costumes were either placed on the floor or hung from the ceiling; in either case, the mannequins were not evident to the visitors. Thus, the display created a virtual image of a non-physical body floating in space (image 1b). This setting allowed the visitor to walk around the space, as well as through the installation of the specific unit of costumes. Walking through the exhibited costumes, the audience could physically feel the proportion of the performer and indirectly ‘participate’ in the choreography.

Image 1a: Production photograph, Nomine Jesu, 1975 © Studio Enosis Image 1b: Exhibition installation, Nomine Jesu © Marili Zarkou25

In a few sections of the exhibition, inspiration was drawn on the bipolar

absence-presence of the dancers’ bodies within the space. The absence of the real body is part of the performance of an exhibition—unless real persons are incorporated in it in place of the mannequins in certain cases.26 In designing the ‘Yannis Metsis—Athens Experimental Ballet’ exhibition, the persons were notionally very present, as most of the dancers are still active members of the world of dance in Greece. Their presence was constant also thanks to the narrations of Metsis’ two former leading collaborators, who worked with me, offering advice and information.27

In the installation of the neoclassical ballet-theatre Antigone28 (1970), the mannequins were placed in front of an enlarged production photograph, showing a snapshot from the choreography while the dancers paused and stood still (image 2a). The position of the mannequins reflected the standing position of the dancers behind it; the size of the dancers in the photograph was similar in proportion to the original-size mannequins. By looking at the costumes, the viewer was given a chance to view a close-up of the performance materials, while at the same time affording a glance at the performance in the photograph just behind them (image 2b). Thus, in a double, parallel display, the mannequins presented the real costumes in an inanimate body, while the photographs—functioning also as a backdrop to the display—showed a frozen moment of the living dancers on stage.

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Image 2a: Production photograph, Antigone, 1970 © Enomenoi Photoreporter Image 2b: Exhibition installation, Antigone © Sofia Pantouvaki

Another example creating notional links between the costume in the exhibition

and the dancer is seen in the exhibit of the costume of the Stepmother-Queen from the neoclassical ballet The Choice: Kassiani and Theophilos29 (1979). There, the central idea for the display of the costume came from a production photograph where the dancer performing the Stepmother-Queen was shown in motion. The photograph captured moments of the choreography where the dancer was shown standing with her back towards the audience (image 3a), thus showing the back of the costume, its most decorated part. The display of the Stepmother-Queen costume reflects this image, as it is placed with its back towards the visitors (image 3b).

Image 3a: Production photograph, Kassiani, 1979 © Enomenoi Photoreporter Image 3b: Exhibition installation, Kassiani © Rania Macha Image 3c: Exhibition installation, Kassiani © Marili Zarkou

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The performance of this costume and its various accessories, hanging around it at the place where the dancer’s real body would have been, emphasises the absence of the body. The costume represents the posture, with no body in it. Moreover, a life-size photographic portrait of the Stepmother-Queen dancer, taken during the original performance, stands conspicuously next to the costume display (image 3c), highlighting the memory of the dancer, which will always be embodied in this costume.

Memory has contributed to the development of my curatorial ideas in other ways too. During the research period, I conducted a series of interviews with Metsis’ collaborators—including Liza Zaimi and his Artistic Director, Andreas Rikakis—as well as with several of the dancers. In these interviews, personal stories relating to the history of the Athens Experimental Ballet were revealed and oral history was used as a methodological tool. In this, I was reminded of Judith Clark’s words: ‘we dream and imagine stories that are inhabited by clothed people. The stories are powerful because of their associations.’30 In designing the exhibition, some of the narratives accompanying the costumes were used to conceptualize different ideas. As a result, personal histories and anecdotal events became another source of inspiration.

Such is the example of the costumes of the Nymphs from The Choice: Kassiani and Theophilos. An account by one of the dancers described the choreography at the specific moment when the dancers walked on stage, wearing long golden mantles (image 4a). The movement of their rhythmical walk moved their cloaks softly, in such a way that the audience whispered exclamations as the dancers left the stage. This short description inspired me to place the golden mantles in the exhibition as if they were just ‘leaving the stage,’ on the side of the Kassiani section, with the back of the costume facing the audience once again (image 4b). In so doing, the recollection described by the performer is embodied in the installation and the narrative is communicated by displaying the costume.

Image 4a: Production photograph, Kassiani, 1979 © Enomenoi Photoreporter Image 4b: Exhibition installation, Kassiani © Rania Macha

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Finally, an important part of the design of the ‘Yannis Metsis—Athens Experimental Ballet’ exhibition was inspired by the given space. Key ideas have been drawn from the architectural construction of the space and its morphological characteristics. In my design, the space did not create the thematic areas (arrangement by themes), but rather it was used to translate ideas of new spatial variations to the display. Therefore, the space has produced spatial configurations relating the costumes to the three dimensional qualities of the given environment; in this sense, the exhibition is site-specific.31 As to how the costumes are placed, the exhibition design relates directly to the architectural dynamics of the given space, and from this perspective, the exhibition has a strong scenographic quality.

Two examples underline this. At the entrance of the exhibition, a parallel, linear relationship has been created, linking the openings of the building (the long windows of the foyer) to the costume which is displayed on a parallel axis to it (image 5). This specific costume, from the production Sappho’s Poems 32 (1980) extends into the space and becomes a ‘set costume’ or ‘spatial costume,’ functioning in a similar way to its original effect on stage, where the character wearing it had a powerful role.

Image 5: Exhibition installation, Sappho’s Poems © Marili Zarkou

In another section of the exhibition, the costumes are displayed according to the architectural predisposition of the space, on the steps of a staircase (image 6a). In this simple solution lies a powerful dynamism, brought out by this climbing display. The costumes are from the Debussy Dances33 production (1975) and have

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an airy quality, emphasised by the silk fabrics and by the light, pastel colouring of the dyes. Few production photographs have survived to document the movement of these fairy-like costumes. The lightweight movement of the dancers is implied in the installation by the grading positions of the costumes and it is emphasised by the dramatic lighting; by being placed on different steps, the costumes appear to be changing positions as if they were in motion (image 6b). In addition, a light fan blows air towards the costumes, thus suggesting movement in a more direct way. Viewers are invited to look and even to allow their eyes to wander upwards, in order to follow the sequence of the series of costumes.

This game of multiple perspective views of the space extends to other exhibits. For instance, in another case, the viewer is invited to look down in order to see two classical ballet costumes (tutus) placed at a low part of the staircase. In this case, the costume is presented as viewed in an architectural plan.

Images 6a and 6b: Exhibition installation, Dances © Rania Macha 4. Conclusion

My practical research has focused on the interrelation of dance costumes in the original sense of their motion-related presence within the exhibition space. I have looked for ways to relate to the original spirit of the costume in performance, as documented in existing records. Moreover, I have examined the role of costume as a material object generating performance by its sole existence. In this sense, the exhibition space has been considered as a new performance site.

In exhibitions, a costume can be seen from an entirely different perspective, from which it opens a new dialogue with its viewers, the visitors. As Amy de la Haye and Judith Clark suggest, ‘the layout of any exhibition is, as much as anything else, a way of making connections and allusions ‘literal.’’34 Therefore, in

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my curatorial practice, an exhibition is understood as a new type of ‘performance’ communicating a narrative where the costume on display tells its own story.

Notes

1 Kate Burnett, ed, Collaborators: UK Design for Performance 2003-2007 (London/GB: The Society of British Theatre Designers, 2007), 123. 2 See The American Heritage Dictionary of the English Language, 4th ed. (Houghton Mifflin Company, 2009) and Collins English Dictionary: Complete and Unabridged (HarperCollins Publishers, 2003), both viewed 13 November 2011. http://www.thefreedictionary.com/dance. 3 Gay McAuley, Space in Performance: Making Meaning in the Theatre (Ann Arbor: The University of Michigan Press, 2000), 106. 4 Joanne Entwistle, ‘The Dressed Body,’ in Real Bodies: A Sociological Introduction, ed. Mary Evans and Ellie Lee (New York: Palgrave, 2003), reprinted in The Fashion Reader, ed. Linda Welters and Abby Lillethun (Oxford/New York: Berg, 2007), 94. 5 Joanne Entwistle, The Fashioned Body: Fashion, Dress and Modern Social Theory (Cambridge: Polity Press, 2000), 10. 6 Claire Wilcox, ‘Introduction: I Try Not to Fear Radical Things,’ in Radical Fashion, ed. Claire Wilcox (London: V&A Publications, 2001), 5. 7 For this concept and examples, see also Jessica Bugg, ‘Emotion and Memory: Clothing the Body as Performance,’ in the current volume. 8 Helen Gilbert and Joanne Tompkins, Post-Colonial Drama: Theory, Practice, Politics (London, Routledge, 1996), quoted in Jane Collins and Andrew Nisbet, ‘Bodies in Space,’ in Theatre and Performance Design: A Reader in Scenography, ed. Jane Collins and Andrew Nisbet (London: Routledge, 2010), 234. 9 See also Sofia Pantouvaki, The Effects of Theatrical Storytelling and Scenography on Children: The Case of Children’s Theatre in the Ghetto of Terezín (1941-1945), PhD Thesis, University of the Arts London, 2008, 30-31. 10 Bugg, ‘Emotion and Memory. 11 Such as the spectacular retrospective Alexander McQueen, Savage Beauty, 4 May-7 August 2011, The Metropolitan Museum of Art, New York, Viewed 4 November 2011, http://blog.metmuseum.org/alexandermcqueen/. 12 I have also looked at exhibitions on a series of curatorial themes inspired by fashion and costume and presented at museums and institutions such as the V&A in London and ModeMuseum in Antwerp. 13 For instance, the work of Atopos Contemporary Visual Culture (CVC) in Athens, Viewed 2 November 2011. http://www.atopos.gr/. 14 Such as the international exhibition of scenography, Prague Quadrennial (PQ), Viewed on 10 November 2011. http://www.pq.cz/en/.

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15 Il Costume veste la musica: L’atelier del Teatro alla Scala, Palazzo Morando, Costume Moda Immagine, 24 June - 12 September 2010, Viewed 10 July 2011. http://www.comune.milano.it/portale/wps/portal/CDM?WCM_GLOBAL_CONTEXT=/wps/wcm/connect/ContentLibrary/giornale/giornale/tutte+le+notizie/cultura/cultura_mostra_costumi_scala. 16 Metzikof, Theatre Costumes and Masks, from the Stage to the Museum, National Gallery 14 September-31 October 2010, National Glyptothèque 22 December 2010-30 April 2011, Athens, Viewed 30 September 2011. http://www.national gallery.gr/site/content.php?artid=342. 17 For more information, visit the website of the exhibition Yannis Metsis—Athens Experimental Ballet, 21 November 2011-31 May 2012, Viewed 21 November 2011. http://www.ime.gr/exhibitions/metsis/index-en.html. 18 The project was postponed three times, and on several occasions it was almost cancelled. In the end, it was realised within the context of the Greek economic crisis, with a budget reduced to 1/10 of what had originally been planned. 19 Sarah Scaturro, ‘Fashion Projects #3: Experiments in Fashion Curation: An Interview with Judith Clark,’ in Fashion Projects on Fashion, Art, and Visual Culture, Viewed 4 November 2011. http://www.fashionprojects.org/?p=676. 20 I am grateful for the support from the textile conservators, Dr. Tatiana Kousoulou, Kalliope Kavasila and Zoe Kona. 21 Jessica Bugg, ‘Emotion and Memory: Clothing the Body as Perfomance,’ see this volume. 22 Joslin McKinney and Helen Iball, ‘Researching Scenography,’ in Research Methods in Theatre and Performance, ed. Baz Kershaw and Helen Nicholson (Edinburgh: Edinburgh University Press, 2011), 117. 23 Ibid. 24 Music by John Tavener, choreography by Yannis Metsis, costume designs by Liza Zaimi. 25 Originally published at: http://www.protagon.gr, viewed 21 November 2011. 26 Judith Clark discusses mannequins in her own practice and in general, i.e. ‘I think when the mannequin is invisible, it is the most noteworthy thing about the exhibition—everyone is looking for the body,’ Scaturro, ‘Fashion Projects #3.’ 27 Namely, the artistic director and co-founder of the Athens Experimental Ballet, Andreas Rikakis, and Becky Bertoumi, a close friend of Metsis. 28 Music by Carlos Chavez, choreography by Yannis Metsis, costume designs by Liza Zaimi. 29 Music by Dimitris Marangopoulos, libretto by Andreas Rikakis, choreography by Yannis Metsis, costume designs by Liza Zaimi. 30 Scaturro, ‘Fashion Projects #3.

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31 The term in this case does not refer to the ‘kind of place’ as defined by Kaye, but to the architectural layout defining the site. See also Nick Kaye, ‘Site-Specifics,’ in Site-Specific Art: Performance, Place and Documentation (London: Routledge, 2000), 1-7. 32 Music by Charles Chaynes, choreography by Serge Keuten, costume designs by Liza Zaimi. 33 Music by Claude Debussy, choreography by Yannis Metsis, costume designs by Liza Zaimi. 34 Amy de la Haye and Judith Clark, ‘One Object: Multiple Interpretations,’ Fashion Theory: The Journal of Dress, Body and Culture 12.2 Special Issue on Fashion Curation, ed. Alistair O’Neill (New York: Berg, June 2008): 160.

Bibliography

Bugg, Jessica. ‘Emotion and Memory: Clothing the Body as Performance,’ in Activating the Inanimate: Visual Vocabularies of Performance Practice. Edited by Celia Morgan and Filipa Malva. Oxford: Inter-Disciplinary Press, 2012, 97-107. Burnett, Kate, ed. Collaborators: UK Design for Performance 2003-2007. London/GB: The Society of British Theatre Designers, 2007. Collins, Jane and Andrew Nisbet, eds. Theatre and Performance Design: A Reader in Scenography. London: Routledge, 2010. de la Haye, Amy and Judith Clark. ‘One Object: Multiple Interpretations.’ Fashion Theory: The Journal of Dress, Body and Culture 12.2 Special Issue on Fashion Curation, Edited by Alistair O’Neill (New York: Berg, June 2008): 137-170. Entwistle, Joanne. The Fashioned Body: Fashion, Dress and Modern Social Theory. Cambridge: Polity Press, 2000. ———. ‘The Dressed Body.’ In Real Bodies: A Sociological Introduction. Edited by Mary Evans and Ellie Lee. New York: Palgrave, 2003. Reprinted in The Fashion Reader. Edited by Linda Welters and Abby Lillethun, 93-104. Oxford/New York: Berg, 2007. Kaye, Nick. ‘Site-Specifics.’ In Site-Specific Art: Performance, Place and Documentation. London: Routledge, 2000.

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McAuley, Gay. Space in Performance: Making Meaning in the Theatre. Ann Arbor: The University of Michigan Press, 2000. McKinney, Joslin and Helen Iball, ‘Researching Scenography.’ In Research Methods in Theatre and Performance. Edited by Baz Kershaw and Helen Nicholson, 111-136. Edinburgh: Edinburgh University Press, 2011. Pantouvaki, Sofia. The Effects of Theatrical Storytelling and Scenography on Children: The Case of Children’s Theatre in the Ghetto of Terezín (1941- 45). PhD thesis, University of the Arts London, 2008. Scaturro, Sarah. ‘Fashion Projects #3: Experiments in Fashion Curation: An Interview with Judith Clark,’ in Fashion Projects on Fashion, Art, and Visual Culture. Viewed 4 November 2011. http://www.fashionprojects.org/?p=676. Wilcox, Claire. ‘Introduction: I Try Not to Fear Radical Things.’ In Radical Fashion. Edited by Claire Wilcox, 1-7. London: V&A Publications, 2001. Sofia Pantouvaki, Ph.D. is a freelance scenographer and researcher, currently teaching as an adjunct lecturer at the Department of Theatre Studies, University of the Peloponnese in Greece. Her recent research includes theatrical costume-making and clothing in the concentration camps of World War Two.