Theatre Design & Technology - Fall 2019 - 36

PQ19

Costume Roars Back
Integration of traditional and contemporary visual
languages evident at PQ 2019
BY SABRINA NOTARFRANCISCO

T

he Prague Quadrennial is famous for showcasing the most up-todate trends in performance design and highlighting the innovative
ways that designers, makers, and scholars from around the world
have been thinking about costume. The costume presence at this
year's PQ was strong. Jerildy Bosch of Mexico earned Best Costume
Design and Donatella Barbieri (Italy/United Kingdom) won the Best Publication Scenography Award for her groundbreaking book, Costume in Performance: Materiality, Culture, and the Body. It was clear that PQ organizers
worked particularly hard to curate a comprehensive costume program this
year, perhaps to counteract some of the criticism received in 2015 when the
awards jury controversially declined to award a prize for best costume design. Their efforts paid off and visitors were treated to an inspiring, and wellreceived, program of costume talks, workshops, performances, and exhibits.
Given PQ's reputation as an artistic and
political hub, the numerous intersections between costume and politics were evident, but
it took some thinking to pinpoint other commonalities amongst the diverse offerings.
Eventually, the themes of costume agency, and
the integration of traditional and contemporary visual languages in costume, emerged.
Costume agency, or the prioritization of a costume's role within a performance, was particularly prevalent throughout the event.
What follows is a sampling of the ways
our colleagues from across the globe have
been thinking about and working with costume, as seen at PQ 2019.

PERFORMANCES

Taboo Collection
The Taboo Collection: A Catwalk Concert

36 |

THEATRE DESIGN & TECHNOLOGY

|

FALL 2019

was created by Fruzsina Nagy (Hungary) and
Dóra Halas (Hungary) of Budapest's Soharóza choir. Approximately 30 chorus members
sang while walking the catwalk in fabulous
taboo-themed costumes. Although there was
no scripted plot, many of the themes, which
included cultural taboos of blood, death, sex,
body, and illness, were made clear through
imaginative costumed storytelling. One memorable vignette featured an ensemble of women dressed in white gowns and red pumps
who later reveal spots of brightly beaded, red
patches on their dresses representing menstruation. Another costume addressed bulimia and featured a toilet seat headdress with
beaded lengths of "vomit" cascading near the
singer's mouth. When asked about her favorite
moment in the show, Nagy pointed to the sexthemed taboo, which featured a male singer



Theatre Design & Technology - Fall 2019

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2019

Contents
Theatre Design & Technology - Fall 2019 - Cover1
Theatre Design & Technology - Fall 2019 - Cover2
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Theatre Design & Technology - Fall 2019 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com