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Development of the Basic Costume Model for the Estonian National Opera's Ballet "The Lizard"
No full textLõputöö tulemusena töötativälja meesosatäitja kostüümi baasmudel Rahvusooper Estonia
uuele balletile „Sisalik“, mis esietendub 2025 aasta märtsi lõpus. Ballett on kirjutatud Lepo
Sumera poolt aastatel 1987–1993. Helilooja Märt-Matis Lill on taastanud ja kokku
kirjutanud Sumera käsikirjade põhjal tervikballeti, mida lavastab Marina Kesler.
Töö käigus valmistati balleti tantsijale mõeldud rõivakomplekt, tuginedes
kostüümikunstnik Reili Evarti eskiisidele. Tegelaskuju piison meesosatäitja kostüüm on
baasmudeliks ka teistele meesosatäitjate kostüümidele selles balletis.
Lõputöös tutvustati Estonia teatrit ja balletti „Sisalik“ ning kirjeldati kostüümi kavandamisel
olulisi tingimusi. Kostüümi puhul on tähtis, et seda oleks võimalik kergesti selga panna
ning vajadusel kiiresti ja lihtsalt kohandada. Balleti puhul on veel oluline kostüümi
liikumisvabadus. Lisaks on esitatud kostüümi tehniline kirjeldus ja materjalide
iseloomustus. Kostüüm koosneb kahest tootest: pintsakust ja lühikestest pükstest, mis
valmistati venivast Lycra kangast (polüamiid ja elastaan), voodriks kasutati puuvilla ja
elastaani sisaldusega voodrit.
Pintsak ja püksid konstrueeriti M.Müller & Sohn süsteemi Sakko põhilõike järgi ja püksid
bokserite põhilõike järgi, moekohaste lõigete tegemisel jälgiti kunstniku kavandit ning
pintsakule lisati alläärde sabad. Tehnoloogilisel töötlemisel oli oluline arvestada, et balletti
tantsitakse mitu hooaega ja seetõttu peab saama neid vajadusel lihtsasti korrigeerida
vastavalt osatäitja figuuri muutustele. Selleks jäeti laiemad õmblus- ja pööramisvarud.
Pintsaku kehaosa käeaugu- ja varrukakaar äärestati voodritega kokku ja alles seejärel
õmmeldi varrukas kehaosa külge. Õlak, mis kaeti voodrikangaga, kinnitati kehaosa voodri
peale. Püksid õmmeldi kokku 4-niidilise äärestusühendusõmblusega ja lisaks tugevdati
lihtühendusõmblusega äärestuse tagant.
Peale kostüümi valmimist muudeti teatris käsitsi paberile tehtud lõiked digitaalseks, et
oleks lihtsam tehnilist paljundust teostada ja paigutusi teha. Materjalide kulu leidmiseks
koostati arvutis paigutusjoonised valminud kostüümi kohta. Pintsaku põhimaterjali kulus
2,95 m, voodrit 1,57 m ja liimiriideid 0,84 m, 1,48 m, ja 3,24 m. Lisaks näidati tabeli kujul
lisamaterjalide, furnituuri ja niidi kulu ning maksumus.
Töö lõpus on resümee inglise keeles ja lisades mõned fotod tööprotsessist.
Lõputöö kirjaliku osaga anti ülevaate kostüümi baasmudeli valmimise protsessist, mille
käigus saadi väärtuslikke kogemusi edaspidiseks tootmiseks ja hoiustamiseks. Pintsak
õmmeldi venivast kangast ja on oma kaalult üsna raske, mistõttu venib see seistes välja.
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Väljavenimise vältimiseks tuleb pintsakut hoiustada kahel riidepuul, pintsak ühel puul ja
rippuvad sabad eraldi teisel puul. Selliselt saab raskust hajutada ja venimine on
minimaalne.
Töös on kasutatud erialaseid programme: Optitex 24, Marker 24, Kaledo Style V4R1 ja
Adobe Illustraator.
Teater jäi valmistatud baasmudeliga rahule ja juba kasutatakse originaallekaale järgmiste
kostüümide juurdelõikamisel. Teistesse suurustesse paljundatud lekaalid lähevad ka
prinditud kujul Estoniasse.
Autor õppis teatris palju uut ja huvitavat lava kostüümide tegemisest ja sooviks neid ka
tulevikus teha.As a result of the bachelor’s thesis, a basic model of a male character's costume was
created for the National Opera of Estonia for the new ballet "The Lizard," which will
premiere at the end of March 2025. The ballet was composed by Lepo Sumera between
1987 and 1993. Composer Märt-Matis Lill has restored and compiled the full ballet based
on Sumera's manuscripts. The ballet is directed by Marina Kesler. The action of the ballet
takes place in two parallel worlds – there are film shoots where a love story unfolds against
the backdrop of a war between buffalo and lizards, and a behind-the-scenes world where
love unexpectedly becomes a reality. The director tells a humane love story, in which the
main character intertwines these two realities so completely that it becomes impossible to
distinguish between them, leading to a tragic ending.
During the bachelor’s thesis, a costume set intended for the ballet dancer was created
based on the sketches of costume designer Reili Evert. The buffalo character's male
costume serves as a base model for other male costumes in the ballet "The Lizard". The
thesis consists of four chapters, followed by a summary in Estonian and an abstract in
English, acknowledgments to the consultants, and additional images from the work
process.
The first chapter introduces the initial assignment, the conditions for costume design, the
planning of models, and the materials used. The costume must look spectacular on stage
and be durable for multiple seasons. It is important that the costume can be easily put on
and quickly and easily adjusted if needed. Movement freedom is also crucial in ballet. The
ballet dancer must be able to move their arms 360º and lift their partner’s arms if required.
Additionally, a description of the costume's external appearance and the characteristics
and properties of the materials are provided. The costume consists of two products: a
jacket and shorts made from stretchy Lycra fabric (polyamide and elastane), with a lining
made from a cotton and elastane blend.
The second chapter describes the construction of the basic pattern and the creation of
fashion-relevant patterns, showing the necessary measurements for preparing the patterns
and the technical duplication of original patterns.
The third chapter focuses on the technological processing of the jacket and pants. Step
by-step, the sequence of processing the products is shown along with technical sectional
drawings, and all pattern piece drawings accompanied by a list of materials.
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The fourth chapter shows the material consumption tables, placements made for the
pattern pieces, data on placements, and cost calculations for main and auxiliary materials.
The programs used in the work include: Optitex 24, Marker 24, Kaledo Style V4R1, and
Adobe Illustrator.
The written part of the thesis provides an overview of the process of creating the basic
model of the costume, from which valuable experiences were gained for future production
and storage. The jacket was sewn from stretchy fabric and is quite heavy in weight; it
stretches when standing. This means that the jacket should be stored on two hangers, with
the jacket on one and the hanging tails separately on another, thus distributing the weight
and minimizing stretching.
The costume department of the Estonia Theatre was satisfied with the work done. The
author learned a lot about costume making during the process. It was an interesting and
eye-opening experience
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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