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Len [333]
3 years ago
11

In theatrical productions, accessories are not added to costumes until the first dress rehearsal.

Arts
2 answers:
erma4kov [3.2K]3 years ago
7 0

Answer:

The correct answer is B) False

Explanation:

In theatrical production the costumes are a very important part of the play. The design of the costumes should help reflect a characters personality, time frame, status, and so many other visual aspects that important to transmit the intention of the play.  That is why it's so important for costume designers to work with the directors of the play, so they can agree and understand the work that is being intended, the message that the director is trying to give.

Accessories are a big part of costume designing, such as; hats, suitcases, canes, books, jewelry, etc.  All these details are important to tell a story about the character or an action that will be taking place, so its important for the actors to get familiar with them during rehearsal even though the dress rehearsal didn't occur yet.

It can be a tricky question though, because it doesn't necessarily have to be the final accessory that is going to be use at the dress rehearsal, but there should be props similar to the accessories that are planned to be use with a certain costume.

For example if a character is to wear a hat it is important to rehearse with a similar hat to the one that he will use to see if it is appropriate in terms of lighting or a change in costume should be made. If a character is to use a cane or book and that accessory takes part on the play, it is important for the actors to contemplate this and be able to practice with such props.

wariber [46]3 years ago
4 0

the awsner is false because it would help the actor or actress get use to them.


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According to art historian, Linda Nochlin, in her essay, "Why Have There Been No
Nat2105 [25]

Answer:

the anwser is E

Explanation:

Linda Nochlin’s “Why Have There Been No Great Women Artists?” (1971) is generally considered the first major work of feminist art history. Maura Reilly, a curator, writer, and collaborator of Nochlin’s, described the work as “a dramatic feminist rallying cry.” “This canonical essay precipitated a paradigm shift within the discipline of art history,” Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), “and as such her name became inseparable from the phrase, ‘feminist art,’ on a global scale.” A dryly humored analysis of the values by which artists are historicized and discussed, “Why Have There Been No Great Women Artists?” posited the first methodological approach for the discipline: that instead of bolstering the reputations of critically neglected or forgotten women artists, the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.

In her own words, Nochlin grew up in “a secular, leftist, intellectual Jewish family” in Crown Heights, Brooklyn. In 1951, she graduated with a BA in philosophy and a minor in Greek and art history at Vassar College. Vassar is one of the so-called “Seven Sisters,” a group of historic women’s colleges along the Northeastern US (it became coeducational in 1969). “The good thing about a women’s college…was that women had a chance to do everything,” Nochlin stated in a 2015 interview with Reilly. “We were not pushed to the margins because there were no gendered margins…we were all there was.” In 1952, Nochlin obtained a masters in English literature at Columbia before undertaking her PhD in art history at the Institute of Fine Arts, New York University, where she wrote her doctorate on the work of Gustave Courbet. Aside from “Why Have There Been No Great Women Artists?,” Nochlin is perhaps best known for her 1971 book, Realism, a landmark study on the 19th-century movement.

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Alenkasestr [34]
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