Within the world of theatre and more specifically the world of costuming, there is controversy over the use of a very specific garment. The corset. Thorough history the use of this garment has been the centre of conversation as to the purpose of the garment and indeed the safety of restrictive garments such as corsetry or stays, both on stage and as general costuming. Within this Dissertation, I will investigate the usage of both corsetry and stays (being the predecessor to the corset) regarding the performing body. In my investigations, I will be relying heavily upon portraiture as the literary texts that exist are often biased and written from the male perspective, and for this reason does not reflect the experience of women in this time. The information presented within this dissertation comes from modern dress historians and physicians. When possible, I have illustrated the points presented with portraiture and photography. Within this dissertation I will talk more towards corsetry that is well made and well fitted as the issue with fast fashion alongside corsetry is a vast issue and is in desperate need of conversation. When referring to the performing body within this dissertation I will mostly be referring to the feminine performing body. I will refer to the masculine figure with corsetry regarding drag performers and the use of corsetry to imitate that which is the feminine figure for the purpose of performance, specifically that of drag performance. Corsetry within the modern-day is something that anyone who wants can and indeed will wear
corsetry. However, within history, the corset was a highly gendered garment, seen as something that was only to be worn by women, for this reason when discussing corsetry and stays regarding the history I will be exclusively talking from the female perspective.
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