"One of the greatest challenges for any practitioner in the performing arts is to create a believable and completely honest 'world of the play,' no matter how abstract or obscure it might be to the modern eye. A costumer's overarching objective is essentially to create forms of clothing that are appropriate to any and every type of character, taking into account not only the obvious variables of nationality, ethnicity, socioeconomic status, age, gender, sexual orientation and creed, but also those of geography, climate, occupation, familial and/or marital status, physiology, personality, psychological state, ideology, historical milieu and so forth. ...
Evocative research, the most liberating form of research for a costumer, is found all around us. This form of research, includes the visual arts but expands to encompass highly abstract art, music, nature, fantasy, film, language, demography and sociopolitical perspectives. Used by directors, actors and designers alike, it creates a basic vocabulary of concept and style upon which to begin discussions of production design. For example, one of the first discussions regarding a play or opera might be the director bringing to the table a piece of music or a painting that to them conveys the mood and spirit they are looking to evoke in the production. For example, a painting by Gustav Klimt might have a specific palette and a detailed use of texture and pattern that evoke key emotions from the director and serve as an excellent springboard for a stylized concept. A director could even bring in a list of adjectives that describes his or her response to the play, and a production team would be expected to visually interpret these words. It is the combination of evocative and factual research that brings focus, cohesiveness and consistency to a production design. Finding fundamental themes or through-lines upon which to base the clothing of the characters therefore allows the designer to create a more controlled environment and a more unified aesthetic."
(Linda Pisano, Timeless Communications September 2010)
Fig.1 Gloria Swanson in the ruins of the Roxy Theatre. Eliot Elisofon. New York City, October 14, 1960. © Time, Inc.
Yelena Popova's reflections on the materiality of contamination and the Kyshtym nuclear disaster of the 9th September 1957.
Fig.1 Yelena Popova (2010). still from 'Unnamed', short artist documentary telling a personal story of a secret town in Russia, 10 minutes.
"How people choose to label themselves is a way of establishing their identity. While ''pakeha'' has a variety of meanings, it is principally used to refer to New Zealanders of British or European ancestry. For people several generations removed from their European or British origins, describing themselves, or being described as, Pakeha can mean that they identify as part of a culture unique to this country. The term New Zealander, which is often suggested as an option, refers to nationality, not culture. The descendants of early British colonists are different from Maori, but all are New Zealanders. Chinese and Samoan New Zealanders are as different from each other as people of Dutch or Indian descent, but they all share the same nationality."
(New Zealand Human Rights Commission)
[I am a Pakeha. Until I left Aotearoa/New Zealand I took it for granted that I could identify myself this way. There were even occasions when I found it annoying that I was required to do so on official forms. But since moving away from Aotearoa I find myself feeling quite proud of being a Pakeha New Zealander.]