1. Ch16- Costume Design and Makeup
Iris Hsin-Chun Tuan
UCLA Ph.D.
Associate Professor
NCTU
2018/9/23

2. The Functions of Costume Design
may help to establish time and place.
Call for a realist approach
They may indicate a particular country or region or a time of day or occasion
Costumes may establish the character's’ social and economic status
Identify occasion or lifestyle
Indicate gender and may reflect age
Reflect a character’s atypicality through dress that departs from the norm.
Do not adhere to realistic standards.
The Medieval play Everyman
Video link
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3. The Functions of Costume Design
Reflect mood and atmosphere
Happy Days
Help establish a particular style
The Hairy Ape
Reflect formalized conventions or a level of exaggeration
Enhance or impede movement
Establish or clarify character relationships
Color can also be used to show a sympathetic relationship
Establish the relative importance of characters in the action
Underline the development of the dramatic action through costume changes.
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4. The Functions of Costume Design
Create both variety and unity
Alter an actor’s appearance
Color and ornament can draw attention to an actor’ good features and away from weaker ones.
Actor may be transformed into animals, tree, or fantastic creatures.
Since 1968, nudity has been used in some productions.
What is dramatically appropriate.
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5. Catherine Zuber
Scenic design with Ming Cho Lee and costume design with Jane Greenwood.
In this production, Zuber applied the type of boned ribbine often used for period corsets to the outside of leading female character’s dress in order to convey a sense of the character’s confinement.
She has designed costumes for many productions, including The Good Woman of Setzuan and The Cabinet of Dr. Caligari.
Zuber has earned a reputation as designer who does exhaustive research.
Zuber used her research as way to support and strengthen her creative choices rather than as a “museum approach” to design.
In 1997, Zuber won an Obie Award for Sustained Excellence in Costume Design.
Boys and Girls (2002)
Time and Again(2001)
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6. The Costume Designers' Skills
need a variety of skills, many of which are pertinent to other professions:
Faison design, visual art, tailoring, sewing, social and cultural history and acting.
Project themselves into any period and create garments not only for present-day fashions but also for those of other eras.
Many designers now use computers to generate sketches.
They often draw upon their knowledge of cutting , draping, patterning, and sewing to achieve the desired effect.
Because costume designers also specify the materials to be used, they need to be familiar with various fibers.
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7. The Costume Designers' Skills
Costume designer must be well grounded in social and cultural history, because clothing reflects the mores, standard of beauty, and stylistic preferences of period and place.
History of theatrical costuming may be useful to the designer.
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8. Working plans and Procedures
Sample of the materials to be used in constructing the garment may be attached to each drawing.
Costume chart to communicate their broad organization of the characters’ costumes at a single glance.
It shows what each character wears in each of the scenes in which he appears.
Color samples of each garment are included so that the range of colors and the overall color scheme can quickly be conveyed.
The chart can be used as the basis for more detailed dressing list.
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9. Realizing the Designs
Costume may be borrowed, rented, assembled from an existing wardrobe, or newly made.
Rented costumes
One or two dress rehearsals
Obtain replacements or make more than minor changes.
Permanent theatre organizations that make their own costumes usually maintain a wardrobe of items from past productions.
Existing costumes in the theatres own wardrobe can be remade or altered to fit new conceptions.
In the Broadway theatre, the producer contracts with a costume house to make the costumes.
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10. Realizing the Designs
In resident and nonprofessional theatres, designers may need to supervise construction of their designs.
Standard procedures are involved.
First accurate measurements must be made of all the actors.
Second, materials must be bought.
Third, patterns must be drafted as guides for cutting and shaping the materials.
Finally, the garment is skitched, and ornamentation and accessories are added.
Many new costumes need to look worn, faded or tattered.
May be subjected to a variety of other processes to produce the desired effect.
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11. The Costume Designer and the Actor
The costume Designer and the Actor need to be cooperate because each supplements and extends the work of the other.
Whenever possible, designers try to consider the strength and weakness of each actor’s figure when planning costumes.
For their part, the actors are responsible for exploring the potentials and limitations of the costumes they will wear.
the clothes in each period emphasize qualities that were admired at that time and allow movements that were then socially useful, beautiful, or desirable, they may use those qualities more effectively.
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12. The Costume Designer and the Actor
For example, the sleeves of a man's fashionable coat in the eighteenth century would not allow the arms to hang comfortably at the sides whereas the modern suit coat is cut so the arms are most comfortable when hanging at the sides.
Both garments reflect attitudes about appropriate male behavior and consequently encourage some movements and inhibit others.
If designers understand the relationship between cut and movement, they can help the actors get the feel of the period by making their garments from authentic period patterns.
The designer can also aid the actors by proper attention to shoes and undergarments.
The height of the heel exerts considerable effect on stage movement
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13. The costume Designer and the Actor
Undergarments affect movement
The actor and director must be willing to explore the possibilities of garments and allow sufficient time for rehearsal in them.
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14. William Lvey Long
William Lvey Long studied art history at the University of North Carolina and eventually studied scene design at the Yale Drama School under Ming Cho Lee.
Since the mid 1970s, Long has designed costumes for many Broadway and Off-Broadway plays and musicals, including: Hairspray, Six Degrees of Separation, Crazy for You, Nine, Miss Saigon, Lend Mea Tenor, and The Marriage of Bette and Boo, as well as revivals of Cabaret, Guys and Dolls, Private Lives, and The Homecoming.
He has also designed the costumes for opera productions all over the world, for the Rolling Stones’ Steel Wheels rock concert tour, for a Siegfried and Roy Las Vegas show, and for numerous dance performances.
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15. Makeup
Traditionally , makeup has been considered the actors responsibility. However, in many situations today, the actors makeup is at least initially the product of design and collaboration.
In the professional theatre, the costume designer often conceives of the actors makeup as a part of the design, especially when a very stylized or complex makeup is required.
In conjunction with costuming
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16. The Function of Makeup Makeup can serve several functions.
characterizes.
Expressiveness
Restores color and form
May indicate performance style
In realistic plays. makeup is usually modeled on everyday appearance. whereas in nonrealistic plays it may he used to make statements, as in expressionist plays, where distorted makeup may indicate distorted ideas or behavior.
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17. The Makeup Plot Coordinated through a makeup plat
The plot is a chart recording basic information about the makeup of each character:
the base color, liners, eye shadow and powder; special features, such as a beard or enlarged nose
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18. Types of Makeup Makeup effects may he achieved in basic ways:
through painting and thought added plastic, prosthetic, or three-dimensional pieces.
They should be concerned not only with the face but also with hands, arms, and other visible parts of the body, because if these are not made up appropriately, they may destroy the illusion created by facial makeup.
A straight makeup utilized the actor’s own basic characteristics without altering them significantly.
A character makeup is one that markedly changes the actors own appearance.
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19. Types of Makeup
Racial/ethnic makeup emphasizes characteristic skin coloration, eye shapes, hair color and texture, along with other traits that differentiate Asian, Polynesian, Indian, Caucasian, and other subgroups.
Special painted effects included
clown makeup, distortions for stylistic reasons, and decorative design painted on the face as in a tribal ritual.
Male actors can grow beards and moustaches, but these can also be made with relative ease.
The appearance of the actor's hair can be changed significantly through styling and coloring, but wigs may be required for extreme changes or rapid switches. Baldness can be simulated with a “bald wig."
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20. Makeup Materials
Used alone, a base color is likely to make the actor's face appear flat and uninteresting.
Therefore, lines, highlights, and shadows are applied over the base.
For this procedure, liner (a thick paste or solid block, usually packaged in plastic cases) is used.
More realistic graying can be achieve by oiling the hair lightly and combing aluminum metallic powder through it.
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21. Theoni V. Aldredge
Theoni V. Aldredge (1932- ) is one of America's most successful costume designers.
Who’s Afraid of Virginia Woolf?
Theoni Aldredge has also designed for opera, ballet, television, and film.
Her costumes for the film The Great Gatsby received the 1974 Academy Award.
A Chorus Line and Dream Girls.
Hotel Suite, as well as the American Ballet Theater's The Nutcracker.
“My aim is to create designs that will make people look alive and comfortable and to give a show a look of unity and inevitability."
Video link
Video link
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22. The Costume Parade, Dress Rehearsals, and Performances
The costumes are moved to the dressing rooms in the theatre to be used for the performances.
Dress rehearsals allow the costumes to be seen under conditions as nearly like those of performances as possible.
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23. The Costume Designer’s Assistants
The designer’s assistant usually a younger member of the United Scenic Artists, may make sketches, search for appropriate materials ,supervise fittings, act as liaison with the other theatre worker, or undertake any other assigned task.
Pattern drafters, drapers, cutters, tailor, stitchers, and fitters make the costumers.
Almost all of this work is done by volunteer or student labor, although frequently person supervise the construction and maintains the theatre’s wardrobe.
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