1. 10 Stage Costumes © Geraint Lewis Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

2. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. 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.

3. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. 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 the theme of the play 6.Meet the needs of individual performers 7.Be consistent with the production as a whole, especially other visual elements

4. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. The Process of Costume Design 1.Read the script 2.Meet with the director to discuss ideas and concept 3.Develop rough sketches (thumbnails) 4.More meetings with the director 5.Complete sketch of the designs (costume renderings) 6.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. 10-4

5. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. 10-5 The Process of Costume Design 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 © Jess Goldstein

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

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

8. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. 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 Greg Gilbert/Seattle Times

9. © 2015 The McGraw-Hill Companies, Inc. All rights reserved. 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.