Suzanne Osmond

The University of New South Wales, NIDA, Faculty Member

University of Technology Sydney, Faculty of Design, Architecture and Building, Alumna

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Costume Connections

Studies in costume & performance, Nov 30, 2023

The Actor in Costume

Australasian Drama Studies, 2012

AOIFE MONKS, THE ACTOR IH COSTUME (HAMPSHIRE ANR NEW YORK: PALERAVE MACMILLAN, 20101The publicati... more AOIFE MONKS, THE ACTOR IH COSTUME (HAMPSHIRE ANR NEW YORK: PALERAVE MACMILLAN, 20101The publication of a book about costume containing only five small black and white images signifies a watershed in the academic and critical discourse around performance costume. The paucity of illustrations complements the author's aim to carve out a thoughtful dialogue about costume on the stage beyond that which lingers on the spectacular or narrative aspects of costume. Aoife Monks' The Actor in Costume calls upon a variety of theoretical approaches to looking at the costumed body on stage and applies these to a selection of relevant examples. It is about 'costuming' rather than 'costume': not about dress, but rather about its uses, perception and effects in the relations between the actor, the costume and the audience (3).This book extends a discussion out from the costumed body to 'reveal wider insights into the functions and effect of the theatre event' (8). Thi...

<i>Modernizing Costume Design: 1820‐1920</i>, Annie Holt (2020)

Studies in costume & performance, May 1, 2022

Review of: Modernizing Costume Design: 1820–1920, Annie Holt (2020) Abingdon: Routledge, 168 pp.,... more

The costumed body in motion: Embodied processes of design

Studies in Costume & Performance

Editorial: Pausing for thought

Pausing for thought This issue of Studies in Costume and Performance is the second to be brought ... more Pausing for thought This issue of Studies in Costume and Performance is the second to be brought to press under the international spectre of COVID-19 in a period in which participation in and production of performance and film ground to a halt on an international scale. As editors of this issue, we are both fortunate enough to live in a part of the world that has avoided most of the devastating effect of the pandemic. As this issue goes to press, Australian audiences joyfully return to 100 per cent capacity in theatres and auditoriums after, like the rest of the world, these places of cultural production and reception remained dark and dormant for most of 2020. Whilst the

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5.2 Fitting Threads: Embodied Conversations in the Costume Design Process

Tawny fronts: Colonial whiteness, Orientalism and representations of Cleopatra on the Australian stage

Studies in Costume & Performance, 2020

This article traces how notions of colonial identity have played out in theatrical representation... more This article traces how notions of colonial identity have played out in theatrical representations of Cleopatra on the Australian stage in the late nineteenth and twentieth centuries – focusing on culturally produced costumed bodies as a site on to which ideas of colonial whiteness, Orientalism and modernity are projected. These representations of the ‘exotic’ Other also absorb popularly accepted ideas of femininity and female power in the circulation of familiar visual tropes. In the temporal space of the twentieth century, Anglo-Australian’s dominant theatrical references shifted from those associated with its European colonial subject’s cultural origins to those of a more globalized and culturally diverse nation still struggling to decolonize its cultural edifices. Close examination of the costumed bodies of Sarah Bernhardt and Lily Brayton as two touchstone versions of Cleopatra on the Australian stage at the dawn of the modern period, reveals the nascent creation of an aestheti...

The state of Australian performance design: A roundtable discussion on scenographic practice, education and research through the lens of the Prague Quadrennial

Scene, 2021

As the Prague Quadrennial of Performance Design and Space 2019 (PQ19) drew to a close, Australian... more As the Prague Quadrennial of Performance Design and Space 2019 (PQ19) drew to a close, Australian designers, researchers and educators gathered to discuss the impact of PQ on our scenographic communities while querying the evolutions and challenges facing design practice. Australia’s vast geography made this event a unique opportunity to bring together leading experts from multiple states and capture contemporary perspectives. At the midpoint between the 2019 and 2023 gatherings ‐ a time of global pandemics, political unrest and educational transformation ‐ this article offers the outcomes of this roundtable as a unique snapshot of the state of design practice within Australia through the lens of the Quadrennial. The roundtable was themed around Australia’s presence at PQ19, the effects of PQ19 on those present and the ripples to be felt by those at home, and what attendance illuminated about current developments and concerns in practice, teaching and research. Led by practitioner-r...

Modernizing Costume Design: 1820‐1920, Annie Holt (2020)

Studies in Costume & Performance

Review of: Modernizing Costume Design: 1820‐1920, Annie Holt (2020)Abingdon: Routledge, 168 pp.,I... more

The Actor in Costume

Australasian Drama Studies, Oct 1, 2012

At the still point

Studies in Costume & Performance

The actor in costume [Book Review]

Event Reviews

Studies in Costume & Performance, 2016

Costuming Cleopatra : costume and the representation of race, gender, and identity in Shakespeare's Antony and Cleopatra

Costuming the body politic

Studies in Costume & Performance

‘Her Infinite Variety’: Representations of Shakespeare’s Cleopatra in fashion, film and theatre

Film, Fashion & Consumption, 2011

... Theatre historians and Shakespearean scholars such as Irene Dash (1981), Stephen Orgel (1996)... more

Review of The Actor in Costume

The publication of a book about costume containing only five small black and white images signifi... more The publication of a book about costume containing only five small black and white images signifies a watershed in the academic and critical discourse around performance costume . The paucity of illustrations complements the author's aim to carve out a thoughtful dialogue about costume on the stage beyond that which lingers on the spectacular or narrative aspects of costume . Aoife Monks'

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