oa Historically informed costume: Collaborative practice between maker, historian and performer

References

1. Arnold, J. (1972), Patterns of Fashion 1: Englishwomen’s Dresses and Their Construction c.1660–1860, London: Macmillan & Co.
   [Google Scholar]
2. Arnold, J. (1982), Patterns of Fashion 2: Englishwomen’s Dresses and Their Construction c.1860–1940, vol. 2, London: Macmillan & Co.
   [Google Scholar]
3. Arnold, J. (1985), Patterns of Fashion 3: The Cut and Construction of Clothes for Men and Women c.1560–1620, vol. 3, London: Macmillan & Co.
   [Google Scholar]
4. Arnold, J. (2000), ‘Make or break: The testing of theory by reproducing historic techniques’, in M. Brooks (ed.), Textiles Revealed: Object Lessons in Historic Textile and Costume Research, London: Archetype Publications, pp. 38–46.
   [Google Scholar]
5. Arnold, J. (2008), Patterns of Fashion 4: The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women c. 1540–1660, (eds J. Tiramani and S. M. Levey), London: Macmillan & Co.
   [Google Scholar]
6. Ascher, R. (1961), ‘Experimental archaeology’, American Anthropologist, 63:4, pp. 793–816.
   [Google Scholar]
7. Barnette, D. (1987), The Art of Gesture: The Practices and Principles of 18th Century Acting, Heidelberg: C. Winter.
   [Google Scholar]
8. Baumgarten, L. (2012), What Clothes Reveal: The Language of Clothing in Colonial and Federal America (Williamsburg Decorative Arts), New Haven, CT: Yale University Press.
   [Google Scholar]
9. Baumgarten, L. and J. Watson (1999), Costume Close-up: Clothing Construction and Pattern, 1750–1790, New York: Williamsburg: Colonial Williamsburg Foundation, in association with Quite Specific Media Group.
   [Google Scholar]
10. Bouffard, M. (2020), ‘L’archéologie expérimentale au service des spectacles historiquement informés? Le cas du jeu corporel au XVIIe siècle’, in S. Chaouche (ed.), European Drama & Performance Studies, 1:14, pp. 309–31.
    [Google Scholar]
11. Bouffard, M. (2021), ‘S’habiller pour la scène dans les années 1660’, lecture at Louvre Museum, 5 November, https://www.louvre.fr/louvreplus/video-s-habiller-pour-la-scene-dans-les-annees-1660?autoplay. Accessed 19 January 2023.
12. Bouffard, M. (2022), ‘L’humour vestimentaire de Molière’, in V. Meunier (ed.), Molière en Costumes, catalogue d’exposition, Centre national du costume de scène, Milan: 5 Continents Editions, pp. 31–40.
    [Google Scholar]
13. Butt, J. (2002), Playing with History: The Historical Approach to Musical Performance, Cambridge: Cambridge University Press.
    [Google Scholar]
14. Candiard, C. and Gros de Gasquet, J. (eds) (2019), Scènes baroques d’aujourd’hui: La mise en scène baroque dans le paysage culturel contemporain, Lyon: Presses universitaires de Lyon.
    [Google Scholar]
15. Chaouche, S. (ed.) (2020), European Drama and Performance Studies, The Stage and Its Creative Processes (16th–21st Century), vol. 2, Paris: Classiques Garnier.
    [Google Scholar]
16. Davidson, H. (2019), ‘The embodied turn: Making and remaking dress as an academic practice’, Fashion Theory, 23:3, pp. 329–62, https://doi.org/10.1080/1362704X.2019.1603859.
    [Google Scholar]
17. De Marly, D. (1982), Costume in the Theatre 1600–1940, London: BT Batsford.
    [Google Scholar]
18. Diderot, D. ([1757] 1996), ‘Entretiens sur le Fils naturel’, in R. Laffont (ed.), Diderot, D. Œuvres, vol. IV, Esthétique-théâtre, Paris: Bouquins, pp. 1130–80.
    [Google Scholar]
19. Dotlačilová, P. (2020), ‘Costume in the time of reforms: Louis-René boquet designing eighteenth-century ballet and opera’, Ph.D. dissertation, Stockholm: Stockholm University.
    [Google Scholar]
20. Dotlačilová, P. (2023a), ‘Exhibition reviews: Molière en Costumes (Molière in Costumes), curated by Veronique Meunier-Delissnyder’, Studies in Costume & Performance, 8:1, pp. 121–27.
    [Google Scholar]
21. Dotlačilová, P. (2023b), ‘Materiality in action: Costume and light on the eighteenth-century stage’, in M. T. Schneider and M. Wagner (eds), Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts, Stockholm: Stockholm University Press, pp. 139–64.
    [Google Scholar]
22. Dotlačilová, P. (2023c), ‘Costume in the age of Rousseau and the case of Pygmalion’, in M. T. Schneider and M. Wagner (eds), Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts, Stockholm: Stockholm University Press, pp. 183–212.
    [Google Scholar]
23. Franko, M. (ed.) (2017), The Oxford Handbook of Dance and Reenactment, New York: Oxford University Press.
    [Google Scholar]
24. Green, E. (2001), La Parole Baroque, Paris: Desclée de Brouwer.
    [Google Scholar]
25. Hare, A. (2020), ‘The phenomena of costume in historical performance: An exploration of Shakespearean costume in post-war Britain’, Critical Costume 2020 Conference, 21–23 August, online, https://costumeagency.com/project/amy-hare/. Accessed 1 December 2022.
    [Google Scholar]
26. Hare, A. (2021), ‘Mastering the cut: The emergence of historical costume cutting at the central school of art, London’, Conference Paper Abstract for the Association of Dress Historians Annual New Research in Dress History Conference, 7–13 June, online, https://dresshistorians.org/wp-content/uploads/2021/07/7-13-June-2021-ADH-Conference.pdf. Accessed 11 November 2023.
    [Google Scholar]
27. Hawkins, E. (2022), Shakespeare in Elizabethan Costume: ‘Period Dress’ in Twenty-First-Century Performance, London: Bloomsbury.
    [Google Scholar]
28. Hazebroucq, H. (2020), ‘Mettre les sources au cœur de la création: Éléments pour la reconstruction des danses d’une comédie-ballet’, European Drama and Performance Studies, 1:14, pp. 375–29.
    [Google Scholar]
29. Hunnisett, J. and Haslam, J. (1991), Period Costume for Stage & Screen: Patterns for Women’s Dress 1500–1800, Studio City, CA: Players Press.
    [Google Scholar]
30. Isaac, V. (2016), ‘“Dressing the part”: Ellen Terry (1847–1928): Towards a methodology for analysing historic theatre costume’, unpublished Ph.D. dissertation, Brighton: University of Brighton.
    [Google Scholar]
31. Isaac, V. (2021), ‘“Re-dressing the part”: The “scenographic strategies” of Ellen Terry (1847–1928)’, Scenography and Art History: Performance Design and Visual Culture, in A. von Rosen and V. Kjellmer (eds), London and New York: Bloomsbury, pp. 141–64.
    [Google Scholar]
32. Jaquet, D. and Deluz, V. (2018), ‘Moving in late medieval harness: Exploration of a lost embodied knowledge’, Journal of Embodied Research, 1:1, videoarticle, http://doi.org/10.16995/jer.7.
    [Google Scholar]
33. Jordan, S. (ed.) (2000), Preservation Politics: Dance Revived, Reconstructed, Remade, Alton: Dance Books.
    [Google Scholar]
34. Jordanova, L. (2012), The Look of the Past: Visual and Material Evidence in Historical Practice, Cambridge: Cambridge University Press.
    [Google Scholar]
35. Kerhoas, M.-J. (2007), ‘Les dessins de costumes de scène de 1750 à 1790 dans les collections patrimoniales françaises’, unpublished Ph.D. dissertation, Tours: Université François-Rabelais de Tours.
    [Google Scholar]
36. Kjellsdotter, A. (2019), ‘The royal Swedish Opera costume collection and Gustavian dress’, in P. Dotlačilová and H. Walsdorf (eds), Dance Body Costume, Leipzig: Leipziger Universitätsverlag, pp. 187–212.
    [Google Scholar]
37. Kjellsdotter, A. (2021), ‘Kostymen med många roller’, unpublished BA thesis, Uppsala: Uppsala University.
    [Google Scholar]
38. Maclaurin, A. and Monk, A. (2015), Costume: Readings in Theatre Practice, London and New York: Palgrave, pp. 15–28.
    [Google Scholar]
39. Mida, I. and Kim, A. (2015), The Dress Detective: A Practical Guide to Object-Based Research in Fashion, London: Bloomsbury.
    [Google Scholar]
40. Mounier-Vehier, C. (2020), ‘La scène lyrique baroque au XXIe siècle: Pratiques d’atelier et (re)création contemporaine: Musique, musicologie et arts de la scène’, unpublished Ph.D. dissertation, Paris: Université Sorbonne Nouvelle.
    [Google Scholar]
41. Noverre, J.-G. (1760), Lettres sur la danse, et sur les ballets, Lyon and Stuttgart: Aimé Delaroche.
    [Google Scholar]
42. Prown, J. D. (1982), ‘Mind in matter: An introduction to material culture theory and method’, Winterthur Portfolio, 17:1, pp. 1–19.
    [Google Scholar]
43. Riello, G. (2009), ‘Things that shape history: Material culture and historical narratives’, in K. Harvey (ed.), History and Material Culture, London: Routledge, pp. 24–47.
    [Google Scholar]
44. Sainte-Albine, P. R. (1747), Le comédien, Paris: Desaint & Saillant.
    [Google Scholar]
45. Sauter, W. and Wiles, D. (2014), The Theatre of Drottningholm – Then and Now: Performance between the 18^th and the 21^st Centuries, Stockholm: Acta Universitatis Stockholmiensis.
    [Google Scholar]
46. Schneider, M. T. (2015), ‘Dene Barnett’s eighteenth century, or, what is historically informed performance?’, Performing Premodernity, 2, https://performingpremodernity.com/wp-content/uploads/2015/01/PPO2-Schneider.pdf. Accessed 16 January 2023.
    [Google Scholar]
47. Spissky, P. (2017), ‘Ups and downs: Violin bowing as gesture’, Ph.D. dissertation, Lund: Lund University, https://www.upsanddowns.se/. Accessed 16 January 2023.
    [Google Scholar]
48. Steel, V. (1998), ‘A museum of fashion is more than a clothes-bag’, Fashion Theory: The Journal of Dress, Body & Culture, Special Issue: ‘Methodology’, 2:4, pp. 327–36.
    [Google Scholar]
49. Taylor, L. (1998), ‘Doing the laundry? A reassessment of object-based dress history’, Fashion Theory, 2:4, pp. 337–58.
    [Google Scholar]
50. Taylor, M. (2021), ‘Technical skill, emotional intelligence, and creative labour: The collaborative work of costume realisation’, unpublished Ph.D. dissertation, Melbourne: The University of Melbourne.
    [Google Scholar]
51. Tiramani, J. (2000), ‘Janet Arnold and the Globe Wardrobe: Handmade clothes for Shakespeare’s actors’, Costume, 34:1, pp. 118–22, https://doi.org/10.1179/cos.2000.34.1.118.
    [Google Scholar]
52. Verdier, A. (2006), Histoire et poétique de l’habit de théâtre en France au XVII^e siècle, Vijon: Éditions Lampsaque.
    [Google Scholar]
53. Wagner, M. (2020), ‘Theatergeschichte Machen: Überlegungen zur einer praxeologischen Theaterhistoriographie’, in C. Balme and B. Szymanski-Düll (eds), Methoden der Theaterwissenschaft, Tübingen: Francke, pp. 59–80.
    [Google Scholar]
54. Wagner, M. (2023), ‘On a praxeology of theatre historiography’, in M. Schneider and M. Wagner (eds), Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts, Stockholm: Stockholm University Press, pp. 21–46.
    [Google Scholar]
55. Wagner, M. and Schneider, M. T. (eds) (2023), Performing Eighteenth-Century Theatre: Scholarly and Artistic Engagements with Historically Informed Performance, Stockholm: Stockholm University Press, https://doi.org/10.16993/bce.
    [Google Scholar]
56. Waugh, N. (1964), The Cut of Men’s Clothes, 1600–1900, London: Faber and Faber.
    [Google Scholar]
57. Waugh, N. (1968), The Cut of Women’s Clothes, 1600–1930, New York: Theatre Arts Books.
    [Google Scholar]
58. Waugh, N. (1995), Corsets and Crinolines, New York: Routledge and Theatre Arts Books.
    [Google Scholar]
59. Wentz, J. (ed.) (2022), European Drama and Performance Studies 2022 – 2, No. 19: Historical Acting Techniques and the 21st-Century Body, Paris: Classiques Garnier.
    [Google Scholar]