During this experience, I have had the honor of further deepening my interest in costume and design. In this paper, I show my research and what I got out of this opportunity. I learned how to effectively choose my costumes in order to create a sense of feeling in my films, and I also had the opportunity of seeing how professionals choose certain looks and clothes to show emotion in their films. During the course, our class of filmmakers took a period of time to study the Oscars. We studied all topics
in March 2016, and showcased a comedic performance filled with themes of arranged marriages, trickery, patriarchal society, and most importantly romance. Director John Sipes’s vision of the play successfully came to life through the stage design, costume design, and acting. It was clear that the director, actors, and designers worked extremely hard on the development of the production by paying close attention to the text and analyzing what was given to them by the playwright. The performance did
Group Production of Robert Thomas' 8 Women Our production of Robert Thomas' "8 women" was a result of the never ending effort of all cast and crew members. All being aware that a production could not be successful with only one person's input, every member of our drama class was part of a cohesive community. Earlier on in the year we, as a class had to determine a play that was
the Five Armies”. It is a heavy designed film that definitely had a long research and design process. There is more than one designer in each area of the following; scenery, costume, lighting and sound. Instead of talking about each designer’s accomplishment in the film. I will be talking only about their work. There were so many participants in the creating of the film it would be hard to reference each design element to an artist. The following are the mentioned artist, The Art Directors Simon
Fashion on screen has evolved to function not just as costume, but as an independent aesthetic discourse, which is challenging the ways audiences think about and consume fashion in their own lives (Gaines, 1990). Television undeniably wields an enormous amount of power to influence culture, especially given its serial nature of complicated, multi-episode programmes, rather than one-off dramas. Furthermore, as one of the central image-making institutions, it is arguably becoming one of the most powerful
Cosplay, the subculture that I have chosen to study, is when a person achieves identification by wearing costumes. This involves dressing up as characters from but not limited to works of fiction such as anime. Taken from the Japanese culture, the word “cosplaying” combines “costume” and “play.” Most people who are involved in cosplaying are interested in comics, anime, or video games. I got the chance to interview Becky, family friend, who identifies herself as a cosplayer. We sat down and talked
completing this, it was here where each individual was assigned a specific role or job. In a production meeting, we voiced our chosen roles and spoke of why we felt we could execute it well. My strongest role has always been visible through costume and working within a costume team. AIMS OF MODULE For this year’s production I chose to take on a bigger responsibility within the group rather than simply just performing. I felt it would offer a new challenge and give me a greater sense of confidence in understanding
Irene Sharaff is a successful costume designer who has designed for many different movies and Broadway productions. She also worked designing costumes for the American Ballet Theatre, the New York City Ballet, and the Ballet Russe de Monte Carlo. She was born in Boston on January 23, 1993. Her career in costume design ran from 1928 to 1981 making it 53 years. She died August 10, 1993 due to congestive heart failure. She studied at the New York School of Fine and Applied Arts, the Art Students League
Costume design is a very underrated element of theater. Many people do not understand the true importance and the hard work that goes into it. The costume design has many different roles associated with it that the audience is not always aware of. For example, the costumes are able to establish time and place, reveal character, demonstrate relationships, tell the story, coordinate with other production elements, and meet the needs of individual performers. There are four main types of costume design
plays. The differing presentations of each may lead someone to think differently about the play than another would. In comparing and contrasting the dramatic representation of the protagonists Oedipus and Othello, theatrical presentation, costume design, and character will lead the reader, and viewer, to have a greater insight into the theatrical practices of their times and their approaches to the issue of verisimilitude. The theatrical presentation of both plays are very similar. The two
themselves in this scene compared to the other acts. In Act 2, the characters were at work that called for them to have a professional mindset, even though they were familiar with each other. The Burns’ costumes were executed in way I had never seen in a play before. Instead of sticking with one style for costumes, it evolved through out the play. In Act 1, the characters were in the first stages of an apocalypse. The clothes they wore were average and looked like something that would be in a Sear’s catalog
together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also
overwhelming for me. To fight crime, Peter needs a costume and a mask of some sort to hide his identity. He is a pretty good artist and draws his costume that he wants. Since Peter doesn’t have much money, he decides to make his own costume. My question is how Peter could possibly know how to make a spandex costume to fit him perfectly, and look awesome without any flaws? Just because he has super human powers doesn’t mean he can design and make a costume as perfect as his. I don’t think a lot of people
Duncan, Denishawn, Martha Graham, and Cunningham. Discuss these in relation to style, technique and theory. Many Historians say that Isadora Duncan was the first dancer to present “modern dancing” to the public. Duncan felt that the pointe shoes and costumes that ballerinas wore were to restrictive. She began to dance in a way that seemed to be more natural to her. Her inspirations came from the movements of the tress, the ocean and other forms from nature. Her techniques included hopping, swaying, skipping
characters in the movie were developed effectively and were portrayed precisely as I had perceived them. I thought that the movie lacked qualities including stage design, clothing, and background music. However, these facets of the performance are insignificant because the story is so powerful that it does not need attractive costumes or ostentatious props to support it. The foundation of the play is its intriguing story and thorough development of characters. The movie was very faithful to
discussing comparisons and contrasts of these examples. Like a motion picture, live theatrical performances such as William Shakespeare’s The Merchant of Venice brings the characters from the story to life to give the audience a look at the scenery, costumes and lifestyle of this era. In a Louisville review of a recent presentation of this play, director Curt L. Tofteland brings the storyline to life. The article states “In what may be the most significant effort of his Kentucky Shakespeare Festival
The Film stars Kirk Douglas, Laurence Olivier, Charles Laughton and a host of other stars. The film was released in 1960, and it won four Oscars. The film won Oscars for Best Art Direction-Set Decoration, Color; Best Cinematography, Color; Best Costume Design, Color; and Best Supporting Actor, Peter Ustinov. Spartacus is one of three films that cover the transition of Rome from Republic to Empire. The movie is historically correct in the overall story about Spartacus, but because not much is know about
Set and Costume Design for A Midsummer Night's Dream by William Shakespeare Elizabethans were extremely conscious of the parallels between human life and the natural world and I believe that the natural world, often perceived to be well-balanced and harmonious is an example to the human world as similarly it can also suffer discord and unrest. Evidently, the woods demonstrate several factors as although a place of mystery, magic and action in which the fairies feel at home this contrasts
the time being he is just there. The one I adore I can barely speak to, can barely reach, although he is the nexus of my system. Letting go is a skill. But for all the growth, movement, experience—for all that, I learn, there is loss. Dances and costumes and heart-pounding drumbeats of the powwow hold the mind in temporary suspense. Men of the tribal council give away blankets, toys, dollar bills, scarcely affordable tokens of an amicable nature. I am at peace, but I feel raw, the agony of a first
wine, they thought even better of him. Greek songs honoring the god of wine, Dionysus, which were originally sung by masked choruses, developed later into a singing exchange between a leader and the choruses. During the fifth century BCE, music, costumes, and dancing all became more elaborate, and antiphonal singing between leader and chorus evolved into dramatic dialogue. Everywhere in Greece, the festivals were regarded as public acts of worship, but only in Athens did these crude beginnings