Costume design

src: www.otis.edu

See also stage outfits.

Costume design is a clothing investment and the overall appearance of a character or a player. The costume can refer to a special dress style for a nation, class, or period. In many cases, this can contribute to the fullness of the art world, visually unique to a particular theatrical or cinematic production. The most basic design is made to show status, provide protection or courtesy, or give visual interest to a character. Costumes may be for theater, cinema or music performances but may not be limited to such. Costume design should not be confused with a costume coordination that only involves changing the existing outfit, even though both create a stage outfit.

Four types of costumes are used in theater design: historical, fantastic, dance, and modern.

Video Costume design

History

The festivals and village processions in honor of Dionysus (See also: Dionysia) among the ancient Greeks, are believed to be the origin of the theater, and therefore the theater costumes. Sculpture and vase painting provide the clearest evidence of this costume. Due to the ritualized theater style, many masks are used to give each character a specific view and they vary depending on if they are used for comedic or dramatic purposes. Some masks are built with a cheerful as well as a serious side on the same face in an attempt to show a change of emotion without a mask change. The same applies to the Romans, who continue the mask tradition, which makes role doubling easier.

During the Middle Ages in Europe, the dramatic preaching of biblical stories was prevalent, therefore the true Christian dress, made out of traditional Byzantine court clothing, was worn as a costume to keep the show as realistic as possible. The characterization of stereotypes is the key when the players dress for this theater style. In most cases, actors must provide their own costumes while playing the characters found in everyday life.

Later, in the Elizabethan show during 1500-1600 in England, the costumes became the most important visual element. Garments are very expensive because only the best fabrics are used. The majority of characters wear Elizabethan clothing, otherwise the costumes can be divided into five categories; "Ancient", which came out of the style of clothing used to represent other periods; "Antique", an old addition to contemporary attire to distinguish the classical character; Clothes like dreams, "fantastic" for supernatural or allegorical characters; "Traditional" clothing that only represents certain people, such as Robin Hood costume, or "National or Racial" costumes intended to separate certain groups of people but not historically accurate.

"Typically, fashionable clothing is used both in comedy and tragedy until 1727, when Adrienne Lecouvreur adopted a much more elaborate and formal court dress for tragedy.The practice soon became the standard for all the tragic heroes" The big actors start competing against each other for who will have the most luxurious stage gown. This practice continued until around 1750 when the costumes became relevant to the characters again. Art began to copy life and realistic characteristics favored especially during the 19th century. For example, the second Georg, Duke of Saxe-Meiningen took a personal interest in the theater and began managing the group. He advocates for the authenticity and accuracy of scripts and time periods, therefore he refuses to let actors tamper with their own costumes. He also made sure his materials were authentic and specific, using chain letters, armor, swords, etc. No cheap substitutes are allowed.

In August 1823, in the edition of The Album , James PlanchÃÆ'  © published an article saying that more attention should be given to the time period of Shakespeare drama, especially when it comes to costumes. In the same year, casual conversation led to one of the more enduring effects of Planchà © in the theater of England. He watched Charles Kemble, the manager of Covent Garden, that "while a thousand pounds are often poured out on Christmas pantomime or Easter spectacles, Shakespeare's drama is put on stage with emergency scenes, and, at best, a new outfit or two for the main character." Kemble " a possible advantage of the true equipment capturing the taste of the city "and agreeing to give Planchà © control of the costume for the upcoming production of King John, if he will carry out research, costume design and production supervision. PlanchÃÆ'  © has little experience in this field and asks for the help of antique experts like Francis Douce and Sir Samuel Meyrick. The research involved sparked Plancha's anticolytic interests; This comes to increase the amount of time later in life.

Although the ordering of actors, King John succeeded and led to a number of Shakespeare productions in the same costume by Kemble and PlanchÃÆ'Â © ( Henry IV, Part I , As You Like It , Othello , Cymbeline , Julius Caesar ). The design and rendering of King John , Henry IV , Like You Like That , Othello , Hamlet and Venetian merchants are published, although there is no evidence that Hamlet and Venetian Traders have ever produced with PlanchÃÆ' Â © 'Costume designs that are accurate historical. PlanchÃÆ'Â © also wrote a number of dramas or adaptations staged with an accurate historical costume ( Cortez , The Woman Never Vext , The Merchant's Wedding , < i> Charles XII , Partisans , Head of Brigand , and Hofer ). After 1830, though he still uses period costumes, he no longer claims historical accuracy for his work in dramas. His work at King John has brought a "revolution in nineteenth-century stage practice" that lasted for almost a century.

In 1923 the first of a series of innovative modern clothing productions from the Shakespeare drama, Cymbeline, directed by H. K. Ayliff, opened at Birmingham Repertory Theater Barry Jackson in England.

Costume in Chinese theater is very important, especially in Beijing Opera. They are usually very patterned and colored hard. Standard items consist of at least 300 pieces and characterize actors, age and social status through ornaments, designs, colors and accessories. "Colors are always used symbolically: red for loyalty and high standing, yellow for royalty, and crimson for barbarians or military advisors." Symbolic meaning is also found in the designs used for emblems. For example, tigers have masculine power and strength. The majority of clothes, regardless of rank, are made of luxurious and rich materials. Makeup is also used symbolically and is very important for the overall look.

In Japan Noh drama masks are always used and prominent aspects of the costume. They are made of wood and are usually used for generations. There are five basic types; men, women, elders, gods and monsters, all with great variety. Masks are often replaced throughout the show. In Kabuki, another form of Japanese theater, the actors do not wear masks but are very dependent on makeup for the overall look. Features are exaggerated or omitted and for some athletic role muscles are outlined in a particular pattern. Traditional costumes are used for every role, based on clothing history that is changed for dramatic effect. "Some costumes weigh as much as fifty pounds, and the stage personnel help the actors in keeping them organized properly while on stage"

Maps Costume design

Design process

The costume design process involves many steps and although they differ from genre to genre the basic method is commonly used.

1.) Analysis : The first step is the analysis of the manuscript, the composition of music, choreography, etc. Costume parameters for show are set and rough costume plot is made. A costume plot outlines which characters are where the scene, when the actors change, and what costume is mentioned in the script.

2.) Design Collaboration : An important phase in the process in which all the designers meet with the director. There should be a clear understanding of where the event goes. The designers get on the same page with the director in terms of themes for the show and what message they want the audience to get from the show.

3.) Costume Research : After the director and designer are on the same page, the next step is for the costume designer to collect the research. Costume designers usually start with a world of play research where they find research to build the world in which the drama takes place. This helps the designers to set the rules of the world and then in turn understand the better characters. The designer will then go into extensive research on each character to try to build their personality despite their costumes.

4.) Initial Sketch and Color Layout : Once enough information has been obtained, the Costume designer begins by making a preliminary sketch. starting with a very quick rough sketch, the designer can get a basic idea of ​​how the show will look united and if the rules of the world are preserved. Costume designers will then go into more detailed sketches and will look for special costumes and colors for the characters. Sketches help see the show as a whole without them having to spend too much time on them.

5.) Final Sketch : After Costume Designer and Director approve costumes and completely flushed ideas, the designer will make a final sketch. This is called rendering and is usually painted with watercolor or acrylic paint. This final sketch shows what the designer wants to look like the character and color of the costume.

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Production process

Once the show is designed, it is necessary to plan where the goods will be sourced. There are four options. Garments can be:

• Removed, which refers to the search through the stock of the costume store
• Rent
• Shopping
• Built, otherwise known as made to order.

There are two ways a garment can be built; either the pattern is arranged or draped, and many times both methods will be used together. Formulation of patterns begins by using a set of archetypes blocks developed from the actor's measurements. They are pulled out on paper first, then transferred to the fabric, and sewn together for testing.

Draping involves the manipulation of a piece of cloth on a clothing or mannequin that has a size closely related to the actors. It is a process that takes a piece of flat cloth and shapes it to adapt the fabric to the body of three dimensions by cutting and pinning.

src: fashionclub.com

See also

• Costume designer

src: dulfy.net

References

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External links

• "Costume Design and Designer Collections" is held at the "Performing Arts Collection", at Arts Center Melbourne.
• "National Nonprofit Association" National Nonprofit Organization for costume and customer designers.
• "The Stagecraft Wiki" A Wiki dedicated to the art of technical theater. Part of Stagecraft.com
• IDD: Costume & amp; Theatrical International Costume & amp; The Theater Design Directory
• University of Washington Digital Collection Library - Dress Costume Costume
• All Nations costumes 104 costume plates
• Williams College Theater Department database of costumes with VR films and original sketches
• "Stagelink" Costume, makeup and wig showpieces
• Theater Costume and Archival Design Set at Bristol University Theater Collection, Bristol University
• 50 movies that change the style of men
• "British Designer Theater Society"
• Costume Design Training in Auckland NZ at Unitec Performing and Screen Arts
• Early Film Costume Design at European Film Gateway

Source of the article : Wikipedia