Deck 11: Image Makers: Designers

Question 1

There has been a move away from the naturalistic, realistic sets that were the standard in the 19^th century theatre. In the 20^th century, non-realistic, impressionistic sets became common place. Discuss what changes in design philosophy accompanied this, including a discussion of one of the designers who contributed to the development of design.

Answer 1

The move away from naturalistic, realistic sets in 20th century theatre was accompanied by a shift in design philosophy towards a more abstract and expressive approach. Designers began to prioritize the emotional and psychological impact of the set, rather than focusing solely on creating a believable physical environment. This allowed for more creative and imaginative interpretations of the play's themes and characters.

One designer who contributed to the development of non-realistic, impressionistic sets was Adolphe Appia. Appia was a Swiss designer who is considered a pioneer of modern stage lighting and set design. He believed in creating sets that emphasized the mood and emotional content of the play, using light and shadow to evoke a sense of atmosphere and expression. His designs often featured minimalistic, symbolic elements that suggested the essence of a particular location or environment, rather than attempting to replicate it realistically.

Appia's designs revolutionized the way in which sets were approached in theatre, and his emphasis on the psychological impact of design greatly influenced the development of non-realistic, impressionistic sets in the 20th century. His work paved the way for other designers to explore new possibilities in set design, ultimately leading to a more dynamic and visually stimulating theatrical experience for audiences.

Question 2

Costumes establish in the audience's mind a great deal about the characters. After carefully reading the text, pick a play (that you have not seen) and develop a complete costume plot. Pay particular attention to ensuring that your audience understands the relationships of the characters. It is suggested that for each costume a short description of why the particular look was chosen be submitted. Some type of visual examples should also be presented.

Answer 2

For this assignment, I have chosen the play "The Importance of Being Earnest" by Oscar Wilde. In this play, the characters and their relationships are crucial to the plot, and costumes play a significant role in establishing their personalities and connections with one another.

1. Algernon Moncrieff - For Algernon, I would choose a tailored three-piece suit in a bold, fashionable color such as deep purple or emerald green. This choice reflects his flamboyant and witty personality, as well as his status as a wealthy bachelor. The suit should be well-fitted and accessorized with a pocket square and a stylish walking stick.

2. Jack Worthing - Jack is a more conservative character, so I would dress him in a classic, understated suit in a neutral color like navy or charcoal gray. His attire should reflect his status as a responsible landowner and gentleman. A simple, elegant tie and a pocket watch would complete the look.

3. Gwendolen Fairfax - Gwendolen is a fashionable and sophisticated young woman, so her costume should reflect her status as a society lady. I would choose a tailored, high-necked gown in a rich jewel tone, such as sapphire blue or ruby red. The gown should be adorned with lace or embroidery and accessorized with delicate gloves and a small, elegant hat.

4. Cecily Cardew - Cecily is a romantic and imaginative young woman living in the countryside, so her costume should reflect her innocent and whimsical nature. I would dress her in a flowing, pastel-colored day dress with floral accents, reminiscent of the Pre-Raphaelite aesthetic. A wide-brimmed straw hat and a basket of flowers would complete her look.

5. Lady Bracknell - Lady Bracknell is a formidable and imposing figure, so her costume should convey her authority and wealth. I would choose a grand, tailored gown in a rich, dark color such as burgundy or forest green, with ornate detailing and a dramatic silhouette. A fur stole and a statement hat with feathers would complete her commanding look.

By carefully selecting costumes that reflect the personalities and social status of each character, the audience will be able to understand their relationships and motivations more clearly. Visual examples of these costume choices can be found in fashion illustrations or period costume references to further illustrate the intended aesthetic for each character.

Question 3

Describe the two types of stage makeup. Pick a play that has been read, but not seen, in your class and create a makeup design for three of the characters. A description of the makeup and the reasons for it should be presented along with a visual representation.

Answer 3

The two types of stage makeup are character makeup and special effects makeup.

Character makeup is used to enhance the features of the actor to better fit the appearance of the character they are portraying. This type of makeup focuses on creating a natural look that complements the character's personality and role in the play.

Special effects makeup, on the other hand, is used to create dramatic and exaggerated looks that go beyond what can be achieved with character makeup. This type of makeup is often used for fantasy or science fiction plays to create otherworldly or fantastical characters.

For the play "A Streetcar Named Desire" by Tennessee Williams, I would create makeup designs for three of the main characters: Blanche DuBois, Stanley Kowalski, and Stella Kowalski.

For Blanche DuBois, I would use character makeup to create a soft, delicate look that complements her fragile and refined personality. This would include a light foundation, subtle blush, and natural eyeshadow to enhance her features. I would also add a touch of red lipstick to convey her flirtatious nature.

For Stanley Kowalski, I would use character makeup to create a rugged, masculine look that reflects his aggressive and dominant personality. This would involve using a darker foundation to create a more angular and harsh look, along with defined eyebrows and a slightly smudged eyeliner to add intensity to his gaze.

For Stella Kowalski, I would also use character makeup to create a natural and understated look that represents her gentle and nurturing nature. This would involve minimal makeup, focusing on a light foundation, a touch of pink blush, and a neutral lipstick to enhance her natural beauty.

I have included a visual representation of the makeup designs for each character to better illustrate the intended looks. (Please insert your visual representation here)

Question 4

By the late 19^th century theatre was dominated by naturalistic philosophy which called for

A) A painted background that indicated place
B) The scenery to express the play's imaginative life
C) The stage to look photographically like the spaces it represented
D) Minimal scenery with the emphasis on lighting

Question 5

Before the emergence of the modern scene designer, creating scenery was the job of

A) The company manager
B) One or two of the actors were assigned the job
C) Someone who was called a scenic artist
D) The stage manager

Question 6

In ancient Asian and Greek theatres, actors used a white-lead makeup or masks made of

A) Linen and cork
B) Leather and burlap
C) Metal and buckram
D) Horsehide and balsa

Question 7

The costume designer that had five hit musicals on Broadway at the same time is

A) Patricia Zipprodt
B) Theoni Aldredge
C) William Ivey Long
D) Jane Greenwood

Question 8

Barbara Matera is best known in the area of

A) Costume design
B) Scene design
C) Set construction
D) Costume construction

Question 9

The hair and wig designer for the Broadway production of Cats is

A) Ming Cho Lee
B) Ted Otto
C) Paul Huntley
D) Josef Svoboda

Question 10

John Lee Beatty, who designed the Broadway production of The Heiress, studied with ________, who was heavily influenced by _____________________

A) Jo Mielziner, Ming Cho Lee
B) Gordon Craig, Adolph Appia
C) Theoni V. Aldredge, Barbara Matera
D) Ming Cho Lee, Appia and Craig

Question 11

Theoni V. Aldredge took many thousands of photographs in preparing to design

A) The Secret Garden
B) A Chorus Line
C) Addams Family Values
D) The Great Gatsby

Question 12

Scene designers begin the design process by

A) Assembling furniture and properties
B) Reading the script
C) Meeting with the director
D) Making three-dimensional models

Question 13

In the design process, the scene designer's work is most frequently guided by the

A) Technical director
B) Production manager
C) Director of the play
D) Shop foreman

Question 14

The set designer visualizes the details of place, movement, and objects in space.

Question 15

Character makeup enhances the actor's normal features.

Question 16

Jo Mielziner designed the original production of Death of a Salesman.

Question 17

Appia and Craig called for scenery to express the play's atmosphere instead of attempting to reproduce realistic details of time and place.

Question 18

A rear elevation is a drawing used for construction purposes.

Question 19

A quality wig has a large amount of hair knotted into it during "ventilation."

Question 20

Costume design has only been a recognized design specialty for the last forty years.