chapter 11 image makers designers scenery costumes makeup masks wigs and hair
Download
Skip this Video
Download Presentation
Chapter 11 – Image Makers: Designers (Scenery, Costumes, Makeup, Masks, Wigs, and Hair)

Loading in 2 Seconds...

play fullscreen
1 / 16

Chapter 11 Image Makers: Designers - PowerPoint PPT Presentation


  • 544 Views
  • Uploaded on

Chapter 11 – Image Makers: Designers (Scenery, Costumes, Makeup, Masks, Wigs, and Hair) Stage-designing should be addressed to [the] eye of the mind. There is an outer eye that observes, and there is an inner eye that sees. —Robert Edmond Jones Chapter Summary

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about 'Chapter 11 Image Makers: Designers' - johana


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
chapter 11 image makers designers scenery costumes makeup masks wigs and hair
Chapter 11 – Image Makers: Designers(Scenery, Costumes, Makeup, Masks, Wigs, and Hair)

Stage-designing should be addressed to [the] eye of the mind. There is an outer eye that observes, and there is an inner eye that sees.

—Robert Edmond Jones

chapter summary
Chapter Summary
  • Designers of theatrical sets, costumes, masks, puppets, hair, and wigs realize the production in visual terms.
  • They are visual artists who transform space and materials into an imaginative world for actors engaged in human action.
the scene designer
The Scene Designer
  • Background:
    • Scenic artist (19th century):
      • Painted large scenic backdrops
    • Scene (or set) designer:
      • Rise of realism and naturalistic theatre created demand for more complex sets.
      • Sets required to look like what they represent.
the scene designer4
The Scene Designer
  • Early 20th century innovators:
    • Adolphe Appia
    • Edward Gordon Craig
  • Reinterpreted function of set and set design:
    • Create mood
    • Open stage up for movement
    • Unify visual ideas
  • Moved beyond illusion of stage realism:
    • Stage can be expressive

Courtesy Arena Stage

Ming Cho Lee’s Design

for K2

scene design as visual storytelling
Scene Design as Visual Storytelling
  • Designer as detective:
    • Uncovers visual clues that reveal inner life of play
  • Approaches:
    • Begins with script analysis:
      • Literary (theme, mood, setting, etc.)
      • Practical (entrances, exits, properties, etc.)
    • Creates sketches, models
    • Works with director to decide on look, details
    • Designer’s plans given to production manager, technical director, shop foreman
scene designer spotlight
Scene Designer Spotlight
  • Adolphe Appia (1862-1928):
    • Considered unity to be the basic goal of theatrical production
    • Disliked contradiction of three-dimensional actor and flat backdrop
    • Used ramps, steps, platforms to give depth
    • Role of lighting to fuse visual elements into whole
the costume designer
The Costume Designer
  • Costume:
    • All garments and accessories, wigs, makeup, and masks
    • Tells us about characters:
      • Social position, economic status, occupation, etc.
      • Relationship of characters to each other
    • Tells us about play:
      • Sets mood, establishes setting

Bruce Goldstein/Courtesy Guthrie Theatre

Patricia Zipprodt’s

Costumes for

Molière’s Don Juan

the costume designer8
The Costume Designer
  • In past, costumes were handled by actor, manager
  • Costume designers emerged in last 80 years:
    • New stagecraft required detail-oriented specialists.
  • Typical responsibilities of costume designer:
    • Costume research
    • Sketching
    • Preparing costume plates
    • Assessing color choices
    • Choosing fabric
the costume designer9
The Costume Designer
  • Large costume houses:
    • Broadway Costume Rental, Inc. (Queens, N.Y.)
    • Western Costume Company (North Hollywood)
    • Warner Studios (Burbank, CA)
    • Malabar Ltd. (Toronto)
  • Rent and make costumes on demand
  • Costume Collection and Odds Costume Rental & Fur (New York City):
    • Rent to nonprofit organizations
the costume designer process
The Costume Designer: Process
  • Design conferences:
    • Forum for working out overall production plan
  • Costume construction:
    • Director approves designs.
    • Designer arranges for construction, purchase, or rental of costumes.
    • Director and designer examine costumes on actors (dress parade).
  • Dress rehearsal:
    • Costumes, makeup, and masks are worn onstage with full scenery and lights.
makeup
Makeup
  • Enhances the actor and completes the costume
  • In theatre, compensates for audience distance
  • Helps reveal character:
    • Age
    • Background
    • Ethnicity
    • Heath
    • Personality
    • Environment
makeup12
Makeup
  • Ancient Greeks used white-lead makeup.
  • Modern makeup:
    • Foundation (prevents “washed out” look under lights)
    • Cake makeup (less greasy than oil-based)
    • Color shadings applied with pencils, brushes
    • Synthetic hair, glue, solvents, wax, hair whiteners
makeup13
Makeup
  • Straight makeup:
    • Highlights an actor’s features and coloring
    • Distinctness and visibility
  • Character (illustrative) makeup:
    • Transforms actor’s features to reveal age or attitude
    • Noses, wrinkles, eyelashes, jawlines, eye pouches, eyebrows, teeth, hair, beards, etc.
  • Fantasy makeup:
    • Responsibility of designer (as opposed to actor)
masks
Masks
  • Ancient masks:
    • Originally thought to have supernatural powers
    • Enlarged actor’s facial features
    • Expressed basic emotions (especially Greek masks)
  • Modern masks:
    • Masked actor creates different presence onstage.
    • Mask must be comfortable, strong, light, and molded to the contours of the actor’s face.
wigs and hair design process
Wigs and Hair Design: Process
  • Meeting between wig designer and costume designer:
    • Meeting with actor
    • Measurements taken
  • Discussion of color and practical considerations (e.g., hats, changes to hair during play)
  • Construction:
    • Base constructed of lace
    • Ventilated (strands of hair knotted in place)
core concepts
Core Concepts
  • All good theatrical design enhances the actor’s presence and supports the director’s interpretation of that world—developing, visualizing, illuminating, and enriching it.
ad