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Costume And Fashion James Laver Pdf

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The Changing Shape of Things Dress James Laver

Books will be issued only on presentation of library card. Please report lost cards and. Card holders are responsible for all books, records, films, pictures or other library materials. Published in London by The Studio Ltd. W- Baur Bols after B. Ftirttenbach's Mannhafter Kunstspiegel, Rirttenbach's Mannhafter Kutistspiegel, , Fiirttenbach's Mannhafter Kunstspiegel, Designs for stage setting: from the original drawings by Ferdinando Galli da Bibiena in the Victoria and Albert Museum 94 Design for a stage setting: from the original drawing by a member of the Galli da Bibiena family in the Victoria and Albert Museum 13 5.

Juvarra in the Victoria and Albert Museum , Hoiiore: from the original by G. Joullain after Claude Gillot Roberts, Roberts, 1 Designs for stage scenery: from the original maquettes by J. Sanquirico, , in the Victoria and Albert Museum Days in the Kean collection, Victoria and Albert Museum The Royal box at Covent Garden Theatre, mid-nineteenth century, showing the projection of the apron-stage Designs for ballet costumes by C.

Wilhelm and A. Bragaglia for 'Pierrot Fumiste' Some of the exhibits, including two concrete models by Gordon Craig, were purchased by the Museum authorities in order to form the nucleus of a theatre collection. During the next decade considerable additions were made, and these, together with objects already in the Depart- ment, now form one of the most important collections of theatrical material in the world.

The enormous Gabrielle Enthoven collection of London play- bills was added in the middle twenties; the Library already possessed not only. All this material became the subject of my study whenever time could be. It is an attempt to present a coherent picture of the whole subject, but I do not pretend to be a specialist in anything but quite minor parts of the story.

My object has been to offer a clue through the labyrinth, to erect signposts pointing to the work of such scholars as Dr. Bieber, Professor Allardyce Nicoll, Mr. Kernodle, M. Carlos Fischer, Dr.

Joseph Gregor and others. It is hoped that the select bibliographies will be useful here. The most detailed treatment is reserved for the subjects of my own special research e. The last named are reproduced, so far as I am aware, for the first time. That so many of the illustrations are drawn from the Victoria and Albert Museum is a deliberate attempt to draw the attention of students, in Britain and elsewhere, to the riches of the national collection. It only remains for me thank those who have been so generous in the'ir to assistance: to the authorities of the British Museum, the Victoria and Albert.

Museum, the Louvre, the Bibliotheque Nationale, the Musee de 1' Opera, the Kunsthistorisches Museum, Vienna, the Drottningholme Museum, Sweden, the Trustees of the Chatsworth Settlement, and to all the living artists who have allowed their works to be reproduced. My grateful thanks are due to Miss Elizabeth Glass for an expert reading of the complicated proofs.

WHEN we use the word 'theatre' we think either of a particular kind of entertainment or of a definite building 'licensed by the L. We hope to pass a pleasant evening, to be amused or to escape for a few hours from the cares of business, or even to titillated,. The man who should demand his money back from the box-office on the ground that none of these purposes had been served by the play he had just witnessed would, rightly, in modern times, be regarded as a lunatic.

Indeed, the contention that the theatre ever had served any of these purposes would be regarded with incredulous amazement. It is none the less true. The theatre, like all the arts but the theatre is all the arts , has its origin in magic, that is the attempt to do things to the universe by the power of the human will, to turn thoughts into things. Of recent years the word 'magic' has begun to be treated with a new respect. Few modern anthropologists, whatever their debt to Sir James Frazer, would echo his assertion that magic is merely mistaken science.

Frazer worked before the discoveries of psycho-analysis had transformed our notions of savage think- ing. In the world of capsulated intelligences to use Jung's phrase magic does not work. But this segregation of the individual mind is a comparatively new- phenomenon.

The notion of the collective unconscious enables us to contem- plate the problem with new insight. Of course, the existence of the collective unconscious may be questioned. It cannot be proved, but many things in animal and savage life can be explained if we accept such a hypothesis.

Bees behave as if there really were what Maeterlinck no scientist, but a poet with a poet's intuitions called 'the Spirit of the Hive. Toangry or afraid is to make one's neighbours angry or afraid, feel and this is true even of modern, man. You can influence others by working up an emotion in yourself, and if you can do so without being overwhelmed by it, you find it is even more effective, because your will remains unimpaired. This is the essence of magic and the essence of acting.

Magic is a projectile weapon,. The attempt to influence others at long range takes two forms, which might be called wooing and frightening. At a later stage these become blessing and. The savage notion that things outside oneself can be influenced by one's own thoughts and emotions does not stop at human beings. Animals can also be influenced, and also what we would call inanimate objects. The primitive notion of what constitutes very different from ours.

To the savage any tiling that life is. The way to influence things is to enter into rapport with them, to do what they are doing. In practice this often means to imitate their movements.

We all instinctively feel this. One has watch the audience at a boxing bout or a only to football match: the fans are and boxing kicking all the time. Every blow the champion delivers is reinforced by a hundred mimetic blows in the audience. The football fans can hardly refrain from kicking in the direction of the goal. This mimetic gesture as a release for overcharged feelings is with us even today.

But the world will not come to an end although the enthusiasts still behave as if it would if the champion is knocked out or the home team defeated. In primitive times the world would come to an end if the buffalo was not killed pr the rain failed to fall. Mimetic magic in general more effective if more than one is person takes part in it.

Emotionally, the crowd is greater than the sum of its parts. The whole makes the same tribe imitative gesture in unison; and inevitably the gesture becomes rhythmical, that is it becomes a dance, and in doing so is doubly effective. London, , p. Hambley, Tribal Dancing and Social Development. London, ,6. But imitation does not stop at gesture, or even at posture the Australian aborigine imitating the stance and leap of the. It seems as if primitive man tried to resemble as closely as possible.

The water from the rain-maker's pot not only symbolizes the rain, as we should say: in some mysterious way it is the rain. The man -who imitates the motions of the buffalo in order to compel it to striking distance is the buffalo. He has, in come within our modern theatrical phrase, 'got into the skin' of his part.

In primitive times he does so quite literally by flaying the victim of a previous chase and clothing himself in the skin. He would like to get inside the animars head too, but primitive man was not an expert taxidermist.

So he carved a head out of wood or bark and inserted his own head into it and invented the mask. The invention of the mask: even now we hardly realize all its implications, in 2 spite of the writings of Gregor and others.

Fallen heads are struck off and the humour of the brain is drunk. Beasts lord it over us. Mouths gape. Frightful eyes stare at us from every side.

Since man began to shape and carve these things, he has freed himself little by little. At its height the mask stands for the plenitude of creative power, that is yet aware of the secret of its source. For the savage identifies himself with the animal he intends to kill. The animal is at once his victim and his best friend, and the emotion ofjoy at the conclusion of a successful chase is balanced by a feeling of guilt.

So the element of propitiation enters into the magical drama, for drama it is as soon as men begin to dress up and assume a character not their own.

The need for propitiation is also felt in relation to ancestors, and this emotion 1 W. London, Surely one of the most illuminat- ing and thought-provoking books ever written on this subject. See also his Weltgeschichte des Theaters, Vienna, , chap, iii, for a study of the mask as the source of all dramatic activity.

The importance of this for later developments e. But once again we are going too fast.

Hierarchy and Seduction in Regency Fashion.pdf

In order to deliver the best experience this website stores cookies on your computer. If you continue to use this site we will assume that you accept these usage terms. For more information please see our Cookie Policy. This is a vintage book in reasonable condition for its old age- it is about the last years of fashion history and was published in s, It has the original dust cover but the back cover is detached, 50 pages. We only have the one available. Please see our other book listings to see the wide range of costume, fashion and accessory information which would be invaluable for aspiring costume designers today.

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James Laver, the 20th century's leading authority in Britain on the history of costume and fashion, was Keeper of the Department of Prints and Drawings and of Paintings at the Victoria and Albert Museum, London, from until Fashion since Du kanske gillar. His Last Sebastian, and Other Poems. Costume and Fashion av James Laver.

The concise history of costume and fashion.

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Drama and Costume - James Laver.pdf

The concise history of costume and fashion

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Costume and Fashion

Books will be issued only on presentation of library card. Please report lost cards and. Card holders are responsible for all books, records, films, pictures or other library materials. Published in London by The Studio Ltd.

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Беккер посмотрел на нее в полном недоумении. - Зачем вам деньги? - спросил. Я не собираюсь оплачивать твое пристрастие к наркотикам, если речь идет об. - Я хочу вернуться домой, - сказала блондинка.  - Не поможете .

При первых же признаках беды он тут же поднял бы тревогу - а в этих стенах сие означает, что он позвонил бы.  - Джабба сунул в рот кусочек сыра моцарелла.  - Кроме всего прочего, вирус просто не может проникнуть в ТРАНСТЕКСТ. Сквозь строй - лучший антивирусный фильтр из всех, что я придумал.

Сьюзан наклонилась к Дэвиду и шепнула ему на ухо: - Доктор. Он смотрел на нее с недоумением. - Доктор, - повторила .

Она была убеждена, что должно найтись какое-то другое объяснение. Сбой. Вирус. Все, что угодно, только не шифр, не поддающийся взлому. Стратмор сурово посмотрел на .

The Concise History of Costume and Fashion

Подумал Бринкерхофф. Мидж подошла к принтеру и, забрав распечатку очередности задач, попыталась просмотреть ее в темноте.

 Я, кажется, догадалась, - сказала.  - Вы хотите, чтобы я проникла в секретную базу данных ARA и установила личность Северной Дакоты. Стратмор улыбнулся, не разжимая губ.

 У них нет света. Джабба полагает, что… - Вы ему звонили. - Да, сэр, я… - Джаббе? - Фонтейн гневно поднялся.  - Какого черта вы не позвонили Стратмору. - Мы позвонили! - не сдавалась Мидж.

 - Ты полюбишь. Сьюзан не слышала ни единого слова. - Останься со мной, - увещевал ее голос.  - Я залечу твои раны.


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