REDIZAJN I KONSTRUKCIJA DIGITALNOG POZORIŠNOG KOSTIMA
DOI:
https://doi.org/10.24867/30EF02IlicKljučne reči:
pozorišni kostim, redizajn pozorišnog kostima, predstava Pigmalion, Marvelous DesignerApstrakt
Pozorišni kostim se smatra kulturnim fenomenom koji kreira vizuelni utisak o liku odašiljanjem niza neverbalnih poruka. Otuda, ovaj rad preispituje takav vizuelni utisak kreirajući digitalnu rekreaciju kostima nošenog na predstavi 'Pigmalion' kikindskog pozorišta. Pribavlja kostimografske skice i fotografije kostima, koje podležu redizajnu posredstvom softvera Marvelous Designer. Cilj ovakvog pristupa jeste spoznaja da li redizajnirani kostim može da predstavi lika u celosti, i pored tranzicija i razvoja koji prate lika, kombinovanjem elemenata u granicama stila.
Reference
[1] Marvelous Designer, Marvelous Designer. [Online]. CLO Virtual Fashion Inc, 2024.
[2] L. Taylor, The Study of Dress History. Manchester University Press, 2002. [E-Book], Available: Google Books.
[3] D. Barbieri i S. Pantouvaki, “Towards a philosophy of costume,” Studies in Costume & Performance, vol. 1, pp. 3–7, 2016.
[4] N. Korablova, S. Oborska, H. Chmil, I. Gavran, i O. Bezruchko, “Stage costume as an important element of the subject environment in cinema and theatre,” vol. 12, 2024.
[5] E. Goepp, “An essay toward a philosophy of costume,” Quarterly Journal of Speech, 14(3), pp. 396–411, 1928.
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[8] M. L. Carriger, “Costume,” in The Routledge Companion to Scenography, Routledge, 2017.
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[13] D. Paunović i G. Čolović, Konstrukcija ženske odeće. Teagraf-Beograd, 1999.
[2] L. Taylor, The Study of Dress History. Manchester University Press, 2002. [E-Book], Available: Google Books.
[3] D. Barbieri i S. Pantouvaki, “Towards a philosophy of costume,” Studies in Costume & Performance, vol. 1, pp. 3–7, 2016.
[4] N. Korablova, S. Oborska, H. Chmil, I. Gavran, i O. Bezruchko, “Stage costume as an important element of the subject environment in cinema and theatre,” vol. 12, 2024.
[5] E. Goepp, “An essay toward a philosophy of costume,” Quarterly Journal of Speech, 14(3), pp. 396–411, 1928.
[6] R. Hann i S. Bech, “Critical Costume,” Scene, vol. 2, no. 1–2, pp. 3–8, 2014.
[7] S. Pantouvaki, “Costume in the Absence of the Body,” in Presence and Absence, 2014, pp. 101–127.
[8] M. L. Carriger, “Costume,” in The Routledge Companion to Scenography, Routledge, 2017.
[9] R. Ingham, The costume designer's handbook : a complete guide for amateur and professional costume designers. Englewood Cliffs, N.J. : Prentice-Hall, 1983.
[10] R. Kwakye-Opong i G. U. Adinku, “Costume as Medium for Cultural Expression in Stage Performance,” vol. 8, 2013.
[11] E. Wilson, Adorned in Dreams: Fashion and Modernity, Rutgers University Press, 2003.
[12] K. Kaič, “Tibor Vajda,” 2013. [Online]. Dostupno na: https://srpskaenciklopedija.rs/books/slovo-v/page/vajda-tibor. [Pristupljeno: 08.07.2024.].
[13] D. Paunović i G. Čolović, Konstrukcija ženske odeće. Teagraf-Beograd, 1999.
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2025-02-09
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Grafičko inženjerstvo i dizajn
