Download Viking Clothing by Thor Ewing PDF

By Thor Ewing

Opposite to renowned fantasy, the Vikings had a name for neatness and their models have been copied a ways past the geographical regions of Scandinavia. those that might manage to pay for to displayed a love of good outfits made up of silks, from light-weight worsteds in subtly woven twills, and from the best of linens. This obtainable new publication is the 1st to take on the query of what the Vikings wore, drawing on facts from artwork and archaeology, literature, and linguistics to reach at a clean realizing of the character of Viking garments, overlaying wealthy and terrible, women and men throughout Scandinavia. It comprises an summary of Viking textiles and dyeing, and an exploration of fabric construction and garments within the context of Viking society as an entire, in addition to an in depth attention of either female and male clothes and a brand new interpretation of the suspended costume.

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18 WHERE DO OUR MASKS COME FROM? South America have led to a clearer understanding of the role of the mask, in particular in the Aztec and Inca cultures. Many of these ancient masquerades, depicting spirits, elements, animals, have been adopted or subsumed by the imposed Christian beliefs of the conquering Spanish conquistadores of the sixteenth century. The Christian Devil is a mask often seen at South American festivals. The African continent is home to a myriad of tribes and cultures, with as many masking traditions as there are languages.

For example, show them a grumpy mask. Ask them to cross the room as that character, pulling that face. Halfway across they find a £50 note. How can they show their elation physically without changing the face, and keeping in character? Happy masks step in puddles, angry masks find dead pets etc. This starts them thinking about countermask. EXERCISE: CENTRES OF PERSONALITY A fun character exercise. Imagine that the centre of your personality is located in a different part of the body. How does this affect your speed and rhythm of movement?

The impro should build in terms of tension and silliness. ’ ‘Yes, and . ’ etc. It’s about accepting what other people give you, and developing it – a principal impro skill. EXERCISE: PRESENTS Start by giving a partner an imaginary box, of any size. Don’t say what is in it – because you don’t know. Let the person unwrap and say what it is – ‘Wow, thank you, a model of the Eiffel Tower’. Discuss the present briefly, then let the other person respond by giving you a present. Then open it and say what it is etc.

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