Utilize este identificador para referenciar este registo: http://hdl.handle.net/10451/1980
Título: O desenho de figurino e a formação académica
Autor: Santa Clara, Graça Maria da Silva Rodrigues
Pedro, António, 1953-
Lagarto, António
Palavras-chave: Desenho
Data de Defesa: 2009
Resumo: This work aims to recognition of the importance of training of costume designer in teaching of Theatre costumes in our country. After an introduction, in highlighted objectives, approach to the concept of drawing, It is in this area that encloses the work. The next item is an analysis of drawing of costumes bearing in mind its contribution to the design the whole spectacle and specificities which entail as well as the role of the following Fashion design is addressed by its relationship with the costumes, and influence and contribution that fashion has or not on the layout although in the case of different realities, with emphasis on training fashion designer. The brief study that is done scenic space developments is the influence of this by varying volumetric, technical resources, acoustics, lighting and other limitations of mounting the spectacle, as reflected in the design of the layout. Within this development are treated with particular interest the first thirty years of the 20th century, period considered as all changes through the impact of rank creations of Russes of Diaghilev, in collaboration with Bakst and Picasso, as well as the role of futuristic and Bauhaus in the history of spectacle. The evolution of teaching Theatre, in recent times, has also been made in order to illustrate the variations that processing of costumes and related areas has suffered, without to be given the necessary relevance. As a way of further subject, from, not a theoretical basis, but knowledge of experience done interviews were made to directors and figurinistas recognized in Portugal, in order to collect experiences, journeys, and particularly the formations working knowledge of the challenges facing the theatrical spectacle mounting raises, in terms of choosing their actors, in this case, the costume designer. Finally, the findings suggest what, in our view, is the aim of this work: what is a following, and how a following.
Descrição: Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2010
URI: http://hdl.handle.net/10451/1980
Aparece nas colecções:FBA - Dissertações de Mestrado

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