Stage Costumes 10 Geraint Lewis Copyright Mc GrawHill

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Stage Costumes 10 © Geraint Lewis Copyright © Mc. Graw-Hill Education. All rights reserved.

Stage Costumes 10 © Geraint Lewis Copyright © Mc. Graw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of Mc. Graw-Hill Education.

10 -2 Costumes • Clothing is not limited to “costumes. ” • The manner

10 -2 Costumes • Clothing is not limited to “costumes. ” • The manner in which a person dresses can indicate multiple things: – – – Position and status Sex Occupation Relative flamboyance or modesty Degree of independence or regimentation Whether one is dressed for work or leisure, or for a routine event or a special occasion • Costumes and/or clothing holds symbolic importance— telling an audience much about a character before the performer even speaks. © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved.

10 -3 Objectives of Costume Design 1. Help establish the style of a production

10 -3 Objectives of Costume Design 1. Help establish the style of a production 2. Indicate the historical period of a play and the locale in which it occurs 3. Indicate the nature of individual characters or groups in a play—their stations in life, their occupations, their personalities 4. Show relationships among characters, separating major characters from minor ones, or contrasting one group with another 5. Where appropriate, symbolically convey the significance of individual characters or theme of the play 6. Meet the needs of individual performers 7. Be consistent with the production as a whole, especially other visual elements © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved.

The Process of Costume Design 1. 2. 3. 4. 5. 6. Read the script

The Process of Costume Design 1. 2. 3. 4. 5. 6. Read the script Meet with the director to discuss ideas and concept Develop rough sketches (thumbnails) More meetings with the director Complete sketch of the designs (costume renderings) Upon director approval, begin building the actual costume pieces and meeting with the performers for fittings • This is a mutable process that changes with every director/designer relationship as well as different production needs. © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved. 10 -4

The Process of Costume Design 10 -5 • Costumes must: – Setting the tone

The Process of Costume Design 10 -5 • Costumes must: – Setting the tone and style – Indicating time and place – Identifying status and personality – Indicating relationships Among characters – Creating symbolic and nonhuman characters – Meeting performers’ needs – Maintaining consistency © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved. © Jess Goldstein

10 -6 The Costume Designer’s Resources • The elements that a costume designer works

10 -6 The Costume Designer’s Resources • The elements that a costume designer works with: – – Line, shape, silhouette Color Fabric Accessories © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved. © Joan Marcus

10 -7 The Costume Designer’s Collaborators The costume designer does not work alone in

10 -7 The Costume Designer’s Collaborators The costume designer does not work alone in theatre process… Scenic designer Scene shop Stage manager Lighting designer Props designer Master carpenter Director Sound designer Technical director Master electrician Sound technician And this is only a basic crew with no special effects… © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved. Costume designer Make-up designer Costume shop manager Running crew

10 -8 Related Elements • Costume designers often are responsible for the overall look

10 -8 Related Elements • Costume designers often are responsible for the overall look of the characters, but need extra support to finish the “illusion. ” – Make-up – Hairstyles – Wigs – Masks – Special effects © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved. Greg Gilbert/Seattle Times

10 -9 Coordination of the Whole • Often, costumes are vital for performers to

10 -9 Coordination of the Whole • Often, costumes are vital for performers to complete the creation of their characters. • Beyond that dimension, the costume design often brings the stage to life, as a moving element that draws the focus and sets the presence of the characters. • Costume designers must communicate with the rest of the design team, the director, and the performers to achieve a unified whole that brings the production to completion. © 2015 The Mc. Graw-Hill Companies, Inc. All rights reserved.