The history of theatrical costume is closely intertwined with that of fashion and that of the theater itself: in fact, from a functional element to the staging (making a character's characteristics and social status recognizable from a distance) over the years it has also become an instrument expressive; from the philological and naturalistic research of models and fabrics to the most daring reinterpretations, the costume is a fundamental element of the directorial and stylistic choices. Likewise, make-up has always amplified the actor's expressiveness, helps in the interpretative characterization of the character, and plays with physical transformations from the most illusory to the most expressionist. If you love acting and want to become an actor, check out this site.
The design of the theatrical costume takes into account not only the philological reliability of the model (which can be respected or deliberately distorted) but, in concert with the director's conception, uses certain fabrics by virtue of the lines they will draw on stage (soft, floating, rigid, sharp) and certain colors both in a symbolic and suggestive key; to ensure that all the costumes are harmonious with each other, the mood board tool is used in the design phase, i.e. a collage of very different images (of places, colors, elements, foods) that support the choice of costumes by identifying a specific iconographic concept.
In the same way, between the creation of the character's make-up and its practical application, the face-chart tool is used: a stylized drawing of the face on porous cardboard on which, in the design phase, the make-up is built by drawing the characteristics and particularities of the face that you want to enhance (eyebrows, cheekbones, shape of the lips) both in a naturalistic and expressionistic way and therefore using on paper the same products that will be applied to the face, so as to be able to study all the details and then reproduce exactly the same live makeup.
Important Concepts
The design of the theatrical costume takes into account not only the philological reliability of the model (which can be respected or deliberately distorted) but, in concert with the director's conception, uses certain fabrics by virtue of the lines they will draw on stage (soft, floating, rigid, sharp) and certain colors both in a symbolic and suggestive key; to ensure that all the costumes are harmonious with each other, the mood board tool is used in the design phase, i.e. a collage of very different images (of places, colors, elements, foods) that support the choice of costumes by identifying a specific iconographic concept.
In the same way, between the creation of the character's make-up and its practical application, the face-chart tool is used: a stylized drawing of the face on porous cardboard on which, in the design phase, the make-up is built by drawing the characteristics and particularities of the face that you want to enhance (eyebrows, cheekbones, shape of the lips) both in a naturalistic and expressionistic way and therefore using on paper the same products that will be applied to the face, so as to be able to study all the details and then reproduce exactly the same live makeup.
Important Concepts
*History of fashion and theatrical costume
*Theatrical and cinematographic costume design: fabrics, materials, assembly
*Costume design in relation to theatrical styles: philology and reinterpretations
*Theatrical makeup techniques: hidden makeup / obvious makeup
*Evolution of cinematographic make-up from the twentieth century to today
*Aging techniques and characterization of the character
*Stage lighting and choice of make-up
