This chapter illuminates the important function which stage costumes can play in what Marvin Carlson termed ‘ghosting.’ Having established the role of costumes as ‘carriers of identity’ and ‘memory’ it considers why and how performers might deliberately reference their own past roles by re-creating, or alluding to costumes which reference a previous performance, or a specific aspect of their celebrity. Through the close analysis of specific examples from the wardrobe of celebrated Victorian actress, Dame Ellen Terry (1847-1928), it highlights the degree to which costumes are haunted by ‘ghosts’ of ‘performers’ and ‘performances’ both during the lifetime of their original wearer(s), and after their death. <br/
When an Elizabethan actor walked on the stage the audience knew, before he opened his mouth, exactly...
‘Decadent Bodies on display in popular performance’ – Conference panel with Professor Emerita Viv Ga...
Clothing can seem easily distinguishable from the person that wears it. This seems largely due to th...
This chapter considers dress, both on and off the stage, as a ‘scenographic strategy’ for self-fashi...
Book chapter as part of edited collection. A leading actress of the nineteenth century, Ellen Ter...
Direct engagement with the material culture of historic theatre costume, particularly surviving cost...
Costumes are powerful objects, which carry multiple meanings and memories in their fibres. Through t...
A leading actress of the late nineteenth century, Dame Ellen Terry (1847–1928) exercised an unusual ...
This presentation focuses on a set of dark red silk ‘legal robes’ and a matching cap. Worn by Ellen ...
This paper will highlight the important role that collaboration can play in unpicking the multiple m...
This paper will highlight the significant insights surviving costumes offer into the embodied experi...
‘Ellen Terry, Shopping in Byzantium: Decadent costumes fit for a ‘Temple of Art’, A blog post explor...
This essay considers the archived costume in relation to the concept of the celebrity performer’s pe...
This article locates costume, an almost non-existent area of theatre studies scholarship, at the cen...
Hanging on racks and squeezed into shelves, past performances’ ghosts are visible in the costumes le...
When an Elizabethan actor walked on the stage the audience knew, before he opened his mouth, exactly...
‘Decadent Bodies on display in popular performance’ – Conference panel with Professor Emerita Viv Ga...
Clothing can seem easily distinguishable from the person that wears it. This seems largely due to th...
This chapter considers dress, both on and off the stage, as a ‘scenographic strategy’ for self-fashi...
Book chapter as part of edited collection. A leading actress of the nineteenth century, Ellen Ter...
Direct engagement with the material culture of historic theatre costume, particularly surviving cost...
Costumes are powerful objects, which carry multiple meanings and memories in their fibres. Through t...
A leading actress of the late nineteenth century, Dame Ellen Terry (1847–1928) exercised an unusual ...
This presentation focuses on a set of dark red silk ‘legal robes’ and a matching cap. Worn by Ellen ...
This paper will highlight the important role that collaboration can play in unpicking the multiple m...
This paper will highlight the significant insights surviving costumes offer into the embodied experi...
‘Ellen Terry, Shopping in Byzantium: Decadent costumes fit for a ‘Temple of Art’, A blog post explor...
This essay considers the archived costume in relation to the concept of the celebrity performer’s pe...
This article locates costume, an almost non-existent area of theatre studies scholarship, at the cen...
Hanging on racks and squeezed into shelves, past performances’ ghosts are visible in the costumes le...
When an Elizabethan actor walked on the stage the audience knew, before he opened his mouth, exactly...
‘Decadent Bodies on display in popular performance’ – Conference panel with Professor Emerita Viv Ga...
Clothing can seem easily distinguishable from the person that wears it. This seems largely due to th...