As a costumer in community theaters with miniscule budgets, of course
I join others who've said the budget is a big factor in costume
design (and the question of authenticity).
Absolutely also, the practical demands of the theatrical role
(including the stage temperature) affect the costume design.
But the biggest issue, to my mind, is what the costume communicates
to the audience, because that's the ultimate question for any aspect
of a theatrical production.
I always aim for an accurate LINE (silhouette, apparent weight,
movement) and go from there. Much as we might love looking at the
real thing in any time period or social class, at least a few
authentic designs that were high fashion or high elegance in other
eras are downright hilarious to the modern eye, and if we don't want
to evoke laughter we have to adjust the design. That goes for any
other detail, too, that the audience would "read." Much as we might
like to teach the audience about life in another time or place, they
didn't come to the theater to study cultural or clothing history;
they came to participate in an unfolding human experience. Any
costume that says "Don't listen to this guy; LOOK at ME!" is a bad
theatrical costume, regardless of its accuracy or fine workmanship.
I'd also say that estimating the expectations/preparation of the
audience is relevant in this context: for a college or festival
(e.g., Shakespeare festival) or otherwise specialized audience, where
the audience members are likely to know something about the period of
the play, the costumes--if the choice is period costumes--ought to
speak to their knowledge, offer accuracy in surface detail and
underpinnings as well as an accurate line. But even then, the
director's intentions concerning mood and personality and overall
production design will affect those details.
Basically, then: costuming, like any other aspect of a theatrical
production, must ADD to, not DETRACT or DISTRACT from, the audience's
ability to understand the play. And that holds whether the play is
"period" or contemporary.
That's my guiding principle, anyway.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
On May 2, 2007, at 8:36 PM, Carmen Beaudry wrote:
(snip about percieved insult to theatrical designers)
You didn't? Am I just being overly sensitive? I often feel like
historical re-enactors and reproducers of accurate historical
costumes look down their noses to a certain extent at theatrical
costume designers because the latter don't usually attempt
complete authenticity.
Sylrog
I may be a bit optimistic, and I know that some historic costumers
automatically discount anyone who designs for the stage, but I
don't think this was the case here. I'm sure the original poster
will correct me if I'm wrong.
I do historic reenactment and recreation. Most of my customers
want very historically accurate clothing for reenactment. That
being said, I enjoy the different emphasis to costuming for the
theater. I enjoy trying to realize the director's vision, to
express the character through the costume and evoke the various
moods. I do try to make that historically accurate whenever
possible, but sometimes it's not. Whether that's the production of
Hamlet that was done all in dull browns, greys and other muddy
shades due to the director's ideas, or the production of The
Misenthrope that we did in 1635 costumes rather than the 1670's
that were actually appropriate, because we could borrow the one,
and we would have had to make the others, and we had a $500 costume
budget. Wasn't going to get done, and while it somewhat offended
my sensibilities, for the most part the audience didn't know it
wasn't meant to be.
I'm actually developing a lecture for next year on why and when you
would or would not want to be completely accurate with a costume.
It's just in the ruminating stage right now, but I'd welcome any
thoughts from y'all.
Melusine
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