
Any part of theatrical design must start first with the script. Read, re-read, and read it again. . . Make notes, highlight any references to costumes, props, set requirements, etc. Know the play backwards and forwards, upside down and inside out. Then speak to your director, chances are that they’ve had the script for longer than you have. A director may have particular ideas or insights about how they want the production to look. For instance, Tennessee Williams wrote Cat on a Hot Tin Roof, setting it on a cotton plantation in Mississippi. For this particular production however, Adam has chosen to transport this very Southern atmosphere to one that would lend itself better to Hispanic audiences. He chose a sugar cane plantation just outside of Miami that would introduce the Cuban influences as well as the Latin-American lifestyle.
It is my job to costume accordingly, taking into account the given circumstances of the play, such as social status or wealth, religion, climate and location. But also color palate, the form or silhouette. The time of the play, summer versus winter will effect the texture of the clothing . . . Is it light and airy like cotton, or is it heavy perhaps wool or tweed.
Costumes effect not only the overall look of a show but the actors as well. A prime example being that a woman walks differently in heels than she would in tennis shoes or flats. In the same manner, a man is seen differently when he wears pants or dress slacks as opposed to jeans.
Justin Kailer is a Professional Costume Designer and Tailor with a degree from Baylor University. He has designed for both theatre and opera through out the Dallas/Ft. Worth area.
No comments:
Post a Comment