Abstract
In the field of costume performance, the power of costume to create and communicate meaning and metaphor, enhance performer embodiment and audience connection has been evidenced and commended. This has included an abundance of research from both designer and performer perspectives, with a focus on the evolving relationship between the (living) body and costume. However, does progressive experimental costume performance, including the use of unconventional materials, have the potential to negatively impact the experience of the performer?
Costume can both reveal and hide the body, and can therefore arguably make the work of the body invisible. This paper presentation will interrogate the potential for costume to conceal the cognitive, physical, and emotional labour of the performing body, and the resulting impact this may have on the performer.
Building on understandings of traditional approaches and hierarchies in performance making, and the complex relationship between dancer/performer and pain, the costume performance project PANG & PING (2021) by designer-director Daphne Karstens will be interrogated. From the perspective of the performer, Lorraine Smith will analyse and contextualise her experiences in relation to the feminist concept “invisible work” and Hochschild’s theory of “emotion management” (2012). Lorraine will also refer to other relevant examples of working with costume to evidence this analysis.
The paper will conclude with the identification of solutions to make visible the invisible labour of the performer in costume performance, and the management of this (physical and emotional) workload on the performer’s body.
Costume can both reveal and hide the body, and can therefore arguably make the work of the body invisible. This paper presentation will interrogate the potential for costume to conceal the cognitive, physical, and emotional labour of the performing body, and the resulting impact this may have on the performer.
Building on understandings of traditional approaches and hierarchies in performance making, and the complex relationship between dancer/performer and pain, the costume performance project PANG & PING (2021) by designer-director Daphne Karstens will be interrogated. From the perspective of the performer, Lorraine Smith will analyse and contextualise her experiences in relation to the feminist concept “invisible work” and Hochschild’s theory of “emotion management” (2012). Lorraine will also refer to other relevant examples of working with costume to evidence this analysis.
The paper will conclude with the identification of solutions to make visible the invisible labour of the performer in costume performance, and the management of this (physical and emotional) workload on the performer’s body.
Original language | English |
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Publication status | Published - 23 Apr 2024 |
Event | 16th NOFOD Conference: The Dancer and the Dance: practices, education, communities, traditions, and histories - Kristiania University College, Department of Performing Arts, Oslo, Norway Duration: 23 Apr 2024 → 26 Apr 2024 https://www.nofod.org/oslo-conference-2024/ |
Conference
Conference | 16th NOFOD Conference |
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Country/Territory | Norway |
City | Oslo |
Period | 23/04/24 → 26/04/24 |
Internet address |
Bibliographical note
The Nordic Forum for Dance Research, NOFOD, is a non-profit organization that promotes collaboration between dance scholars and practitioners. This it does by arranging seminars and conferences as well as spreading information through discussions, performances and publications on dance. The purpose of the organization is to enhance, empower and bring together diverse forms of dance research, knowledge and practice especially in the Nordic context.NOFOD defines dance in the broadest possible terms; ballet, modern dance, contemporary dance, new dance, post-modern dance, salsa, tango, hip-hop, folk dance, ballroom dances, line dancing, etc. Thus the field encompasses a range of theatrical and participatory dance forms constitutive of Scandinavian as well as Non-Scandinavian cultures. To study the significance of the dance event for participants and spectators, NOFOD embraces a wide range of research methods. Some employ dance-specific modes of inquiry such as movement analysis or choreographic reconstruction; others are drawn from related disciplines such as musicology, physical education, theater studies, ethnology, gender studies, artistic or participatory research etc.
NOFOD has arranged a Nordic research conference every second year since 1990. These events featured presentation papers, lecture-demonstrations, panel discussions, movement workshops and performances on a broad range of topics. Each conference has produced a proceeding in which papers have been published on the authors’ discretion.