Introduction to Theatre Design
The last two units in Drama 2310 are explorations in the art of theatre design. The first two units have examined the graphic language of non-verbal communication and should prepare the way for Costume and Scene Design. Unlike the creation of the first unit's sculptures, which were largely guided by your emotional experience and imagination, theatre design is guided by a text. The text or script is the blueprint of the design. It asks all the questions and lays out the visual problems to be solved. Whereas there is more structure to theatre design than one would find working in an artist's studio, most every artistic endeavors involves the creative thought process: Idea, Investigation, Gestation, Inspiration, Plan, Verification, Execution, Celebration. In theatre, the script usually sparks the Idea phase of the process.
For our theoretical costume and scenic designs, we will use the musical PETER PAN. For this project, the Department of Speech and Drama will loan a copy of the script to you. You are responsible to return this script without damaging it. Use a pencil for notes and erase the same before you return the script.
INTRODUCTION TO THEATRE DESIGN
Unit Three: Costume Design
Designing costumes or clothing for characters in a play can be as simple as going to your closet and selecting appropriate apparel to fit an actor in the play. The "design" is in the appropriate selection of the clothing that must fit for the actor playing a character. This sounds easy and it is. However, the success of a costume design depends on what is says to an audience and how it enhances the character of the actor. This unit explores the process of costume design from text to a paper design. Trust the process and engage in multiple possibilities. Your imagination is the only limit. However, an informed and disciplined imagination renders greater results. Keep up and be prepared for each class or studio.
#20. One Page Plot Synopsis of The Musical PETER PAN and Period Research
DUE: 4/7
READ THE PLAY. In addition to private reflection of the meanings and details of PETER PAN, write a brief, one page synopsis of the story. You are to create two hard copies. Submit one copy and keep the other for reference throughout the design process.
In addition you are to make a decision regarding the period and style of your production. In preparation for a Production Meeting with your peers, you are to do visual research to support your decision to produce the play with costumes from a period of your choice. A dramaturg is referred to as a consultant and an advocate for the playwright's intentions. A designer becomes a visuaturg as he or she prepares for a production. The following website is an amazing resource. I encourage you to take a few moments to surf through this resource.
THE COSTUMER'S MANIFESTO - COSTUME.ORG
Come to class with a file of visual information to support your synopsis and which help illustrate your world of the play. This is to be visual information. You may upload your research to display on the computer monitors. Come prepared.
#21. Written Character Descriptions
Due: 4/9
You will have undoubtedly thought of each character in the story as you were reading it. For the purposes of this class exploration, we will concentrate on the following characters:
PETER
WENDY
MOTHER
ONE OF THE LOST BOYS (your choice... name the boy)
TIGER LILLY
HOOK
SMEE
You are to submit a thorough, written analysis of each character. Your analysis should include but not be limited to the following considerations: age and gender, physical type, the character's function within the play (protagonist, antagonist, catalyst, foil, chorus, messenger, etc.), the symbolic significance (if any) of the character, the character's relationship with other character, the character's occupation or station, and the desire or intention of each character. In developing your character, you should quote references in the script. Characters are revealed through the author's descriptions often found in stage notes, through comments made by other characters in dialogue, or through implications. Including your feelings for these characters in terms of line, shape, texture and color.
Jodi Karjala, Trinity Costume Designer, has given us permission to use her guidances for the analysis of the character.
#22. Selected Costume Research
Due: 4/14
AFTER you have written your character descriptions, you are to conduct research as a means to load your intuition. Research enables connections in the mind to think of new solutions, to take avenues, which would not happen should you depend entirely on your own experience. Sometimes I seek inspiration in an artist's work. Often when reading the play, an idea will surface, which points me in a direction where only research can verify the correctness of the direction. In most cases, the script will define who the characters are and may require tangible objects for which I am not familiar and must seek research for answers. For example: "Henry, go put on your smoking jacket." I have an idea of what a smoking jacket might be but would seek visual examples to better inform my decisions regarding an appropriate smoking jacket for Henry.
You are to conduct research for your specific production concept and style of your costumes. You are to select a period, a style, and a spirit, which will inspire your final design. You may need to collect pictures of clothing, hats, shoes, mushrooms, fantasy islands or pirate ships or Victorian nurseries or Chagall paintings or Erte prints or examples of doors, windows, fireplaces, etc. Look for details these characters might wear. What does a pirate really look like? What crocodile features say CROCODILE to an audience if selectively placed on a human actor? How would he or she move about on stage? Could you use a skate board? If so, how might it be concealed as part of the costume? ETC. In any event, you are to immerse yourself into the world of your play as supported by external documents and visual research.
You are to bring to class some of your research in the form of PHOTOCOPIES (not books). They need to be laid out on the tables, flat ... not in books or magazines. At least 10 copies. These should be varied examples (Not 10 examples of hats). Of course as most of you will use the internet for research images, you should create a file of websites or specific images. Select the 10 best images to present in class.
#23. FIGURE DRAWING
Due: 4/14
We will work on this in class. Based on the written synopsis of the story and your character descriptions, you are to redraw the human forms, which have been distributed in class to reflect the ideal body shape for each character. Use a piece of tracing paper for each character. You should focus on redrawing these figures concentrating on shape, line, form and attitude.
#24. MAKING COSTUME CHOICES
In class on 4/14, you will continue preparing your costume designs.
Using the "ideal body shape figures" you created, it is time to design your costumes. Tape the body figures on your drawing board. Overlay another piece of tracing paper. Using your research and character descriptions plus your imagination, drawing the appropriate clothing for your characters. Bring your research, character descriptions and be prepared to draw and render in class.
#25. THE COLORED COSTUME SKETCH
Due: 4/21
You are to render your costume designs in color. Select a lighting source and direction. Render your costumes with shadows and highlights. The tracing paper line drawings are your roughs. Clean them up and then either photocopy them onto paper or transfer them to watercolor or pastel paper. Do not color the original tracing paper. You are to submit the renderings and all other work executed in this unit for my feedback.