Costume production distinguishes early civilization from the Paleolithic era as much as architectural production. Costume transcends boundaries, as it first unites and then divides mankind. The mode of dress differentiates friend from foe and peasant from prince. Changes in the appearance and types of garments through the ages are a significant indicator of social, economic and chronological changes. This annotated bibliography of 603 references, taken from monographs, dissertations, festschrifts, periodicals, encyclopedias and handbooks, is the most comprehensive research tool for the subject of ancient Greek costume. This subject is of increasing interest to scholars in many fields, including archaeology and anthropology, art and art history, classics, drama, history, ancient literature, even modern literature. The references in this bibliography range from the encyclopedia entry to the monograph, and show a variety of themes: women's dress, men's dress, foreign dress, accessories, jewelry, headdresses, theater dress, textile production and literary evidence.

The attire of the feudal lords and ladies of old Japan, warriors, priest, courtesans, Edo-period dandies geisha, footmen, farmers— in fact, the whole array of Kabuki's colorful characters-is discussed in fascinating detail in this Japanese Kabuki book.From kimono and armor to undergarments, from wigs to foot gear, from swords to hair garments—no aspect of costume accessories is overlooked. Textiles and textile designs, in all their profusion of weaves, colors, and patterns, are carefully taken note of, and a number of important traditional designs are illustrate. Make-up and headdress varying formats of costume for specific roles, styles of tying the obi—all are expertly described.Of the numerous books in English dealing with the Kabuki theater of Japan, none so far has devoted itself exclusively to costume. Kabuki is compelling bringing about such art forms, yet it is the costumes that create the intrinsic, eye catching spectacle.Praise for Kabuki Costume:"A product of over fourteen years of meticulous study, Shaver's unique and authoritative analysis of the labyrinthine complexities of Kabuki costumery not only provides…a valuable reference work for scholar, but also an apt ... [Read More]

Kabuki A Pocket Guide introduces readers to the foundations of Kabuki—its history and its actors, its acting styles and its performance, its color and music—to the sheer beauty and joy of Kabuki.Kabuki, the popular theatre of Japan, began in about 1603 and is still flourishing today. It was the entertainment of the common people as opposed to Noh, the refined theatre of the aristocracy, and is a close relative of the Bunraku puppet theater. All the actors in Kabuki, even those who play female roles, are men and plays and dances deal with the love of the heroes and villains form Japans real or legendary past.Concise enough to take to performance, this pocket guide to Kabuki provides a wealth of fascinating information about plays, the actors, and their history. As only an insider can do, the author takes us behind the scene to meet the actors, attend rehearsal, and get a first-hand look at the makeup, costumes, sets and props that go into a Kabuki performance.

Aristophanes and Women, first published in 1993, investigates the workings of the great Athenian comedian’s ‘women plays’ in an attempt to discern why they were in fact probably quite funny to their original audiences. It is argued that modern students, scholars, and dramatists need to consider much more closely the conditions of the plays’ ancient productions when evaluating their ostensible themes. Three plays are focused upon: Lysistrata, Thesmophoriazusae, and Ecclesiazusae. All seem to speak quite eloquently to contemporary concerns about women’s rights, the value of women’s work, and the relationships between women and war, literary representation and politics. On the one hand, Professor Taaffe tries to retrieve what an ancient Athenian audience may have l appreciated about these plays and what their central theses may have meant within that culture. On the other hand, Aristophanes is discussed from the perspective of a late twentieth-century, specifically female, reader.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed.Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

The core of the book focuses on tragic costume in its original performance context of fifth-century Athens, but the implications of subsequent uses in Roman and more recent performances are also taken into consideration.Most importantly, the reader is invited to think about how tragic costume worked as a language in ancient performance and was manipulated physically and verbally in order to create meaning. Elements of this language are shown through a series of test cases from a range of ancient tragedies. All ancient passages are given in translation and the book includes a glossary of terms.

This book offers an interpretation of the handling of costume in the plays of the fifth-century comic poet Aristophanes. Drawing on both textual and material evidence from the fourth- and fifth-century Greek world, it examines three layers of costume: the bodysuit worn by the actors, the characters' clothes, and the additional layering of disguise. A chapter is also devoted to the inventive costumes of the comic chorus. Going beyond describing what costumes looked like, the book focuses instead on the dynamics of costume as it is manipulated by characters in the performance of plays. The book argues that costume is used competitively, as characters handle each other's costumes and poets vie for status using costume. This argument is informed by performance studies and by analyses of gender and the body.

Roman Gladiaror Helmet; Molded Plastic, Ready to Wear, One size Fits Most Teens to Adults. Adjustable Visor and Side Plates. Full Feather Plume Crest is Removable.

Nicky Bigs Novelties Norse God Winged Helmet In Greek Mythology Hermes was considered the messenger of the Olympic gods. Hermes was associated with fertility and good fortune. Vikings worshiped the gods. This helmet will have everyone worshiping you. Stylish antique-look. Gold brushed on a detailed cap with detailed wings. Cap fits approximately 58 cm up to 60 cm comfortably. 10.25 inches high 17.5 inches long 8 inches wide.

She was entrusted with making our country's first flag! This patriotic Betsy Ross Heroes in History child costume includes a mop cap, red and white dress and blue apron with white stars. Does not include

A mythical beauty worth worshipping. She'll become a mythological being with this beautiful outfit. Costume includes a dress and headpiece. Does not include

HeadpieceRobe with attached shoulder drapeBelt