The research explains the roles or functions of costumes in Theatrical performances, especially in educational theatres. Thus, the research also involves a primary material which is the use of visual presentation. Since costumes are visual elements the need for the use of pictures are necessary in order to aid understanding in my presentation of data.
In the process of realizing the purpose of this research, the researcher made use of the primary and secondary source. The primary source consists of the visual representations in terms of the pictures of the performance, references from existing literatures on the study of costume, journal, library and internet. The secondary source consists of oral interviews between the researcher with students, costumiers and lecturers,. Certain setbacks and challenges are faced in the cause of study. These challenges could be seen in the scope of study; as the research only covers the University of Abuja, Open Air Theatre Productions.
As a result of the restrains in the duration of the research, the research study is restricted to the curricular duration of the university, which is Three semesters from level second semester to second semester level. This might be inadequate for an in depth research required on the study. The complex whole which includes knowledge beliefs, art, moral laws, custom and any other capabilities and habits acquired by man as a member of a society.
Get the Complete Project. Download This Paper. Terms of Use Contact Us info researchclue. Home for Nigerian Researchers. According to Wilson 12 He asserts that; Theatre is a collaborative art, where the playwright, artistic director, technical designers, performers and audience come together to make a theatre experience. According to Barbara and Cletus Anderson 20 ; Costume is the clothes worn by actors on stage, whether it be layers of clothing or nothing at all Costumes can also be derived from every day dress or it can be symbolic; a dress made for a ghost must of necessity depart from the natural dress worn by humans, it is usually symbolic.
However, a pantomime , which is far more theatrical, would feature grand and colourful costumes to support the overall style of the show. Three men stand on stage, wearing suits in the naturalistic style of the s during a performance of An Inspector Calls, The Novella Theatre.
Many of these lights also have a selection of gobos more on this below and a color wheel installed so the light shape and color can be changed automatically as well. The actual lighting instrument is usually similar to the Ellipsoidal Reflector Spotlight, and thus is quite versatile in its applications. Within the last years, many of the lighting instruments in theatres have been changed out for LED instruments. These LED instruments often have built in color options, built in wireless computer inputs, and are overall lighter in weight than standard lighting instruments.
LED lighting instruments can take the place of all of the standard-lamped instruments discussed above. A gobo is a special tool for lighting that can give shape to the light beam. By using a metal or high-temperature glass insert placed in front of light to create shaped shadows. Many kinds of images can be created, such as windows, trees, clouds, streaked sunlight, dappled meadow light, etc.
They are usually used on ellipsoidal reflector spotlights. Another type of special lighting instrument is the Follow Spot. It is a manually moved spotlight mounted on wheels and gimbals to allow it to move freely from side to side and up and down. They will frequently be used with musical theatre to highlight a soloist or in other uses such as concerts. There are several ideas that you need to be familiar with in terms of lighting control.
There is so much more to stage lighting than just turning them on and off like you might do in your home. However, even in homes now, we see more variety in controls, such as dimming or changing colors.
Light plot. The light plot is a listing, and sometimes a graphic layout, of all lighting instruments available in a theatre, including the types of instrument each one is and may include wattage or lumens — a measurement of the light intensity , and the channel it is plugged into in order to allow for quick selection, patching, and plotting of the lighting plan for a given show. This refers to the actual changes in the lighting that occur during a given play.
They will be organized on a Cue Sheet to allow the lighting operator to know what line or action happening on stage will prompt each particular change. If it is to be a slow shift, the duration will also be indicated. A blackout is a specific kind of cue. It is a cue that tells the operator to take out all of the lights on stage as quickly as possible and all at once.
A fade is any cue that changes the intensity of the lights on stage either by dimming or by increasing the intensity. It is not usually a sudden change, rather it is one that changes over a period of time from a couple of seconds to 10 or more seconds.
It can be used to lower light intensity on one area of the stage while it comes up on another part of the stage. That is called a cross fade. Fades are usually accomplished with the use of a dimmer. A dimmer is a sliding control that the lighting operator can slide up or down to change the intensity of a light gradually over the full range of the instrument.
The last major component of modern theatre that we need to cover is the use of sound, and the role of the Sound Designer. Amplification refers to ensuring that all voices, music, and necessary sounds can be heard by all of the audience.
These may be created live, on tape, or by using computer sound files to provide the input, and then those are fed into the sound amplification and broadcast system that is used for amplification. Sound effects, also referred to as sound reproduction, can be either motivated or environmental. Motivated sounds are those that come directly from the action of the play and that move the story forward.
They are sounds of things relevant to the story of the play, that is, without these sounds the audience would lose some connection to the action of the play. For example, these sounds might include doorbells that announce entrances, phones ringing, guns being fired, sounds of cars off stage that announce the imminent arrival of a character.
Environmental sounds are those that are generated to establish an ambience or background noises to help establish location or time frame or other setting elements. If these sounds did not exist, the play would still be perfectly clear to the audience, but these sounds enhance the experience for the audience.
For example, these might include street traffic in the city, or birds singing in the outdoors, or crowd sounds in a busy place, etc. Amplification of sound is also referred to as sound reinforcement. This sound feed is also sometimes made available in the backstage areas so other actors can more easily hear what is going on in the scene and be prepared for entrances to happen on time.
Stage Costumes The costumes for a play are a very important part of the visual effect. Costume Designer objectives As a designer, the Costumer is going to create a set of designs based on certain needs of the production. Personality Costumes can also be used to give the audience some clues as to the personality of a character.
Social relationships Costumes can reflect social relationships. Maintain Consistency The last objective of the costume designer is to maintain consistency in the costumes. Where do costumes come from Once designed by the costume designer, the costumes are then ready to be created. Buying costumes Sometimes, costumes are of recent enough historical style or can be adapted from current styles. Building costumes The costumer may opt to create new costumes or parts of costumes from fabric, etc.
Related Areas In addition to the clothing that a character wears, the costume designer is directly involved with several associated areas. Objectives of the Lighting Designer Like the Scene Designer and the Costume Designer who we have already discussed, the Lighting Designer works for and in consultation with the Director to achieve the necessary lighting for the play. The objectives that the Lighting Designer needs to achieve are the following: Visibility — the most important objective is to light the stage sufficiently that the actors and the scenery can be seen by the audience.
Elements of Stage Lighting We have mentioned the elements of lighting in several places already, so now we will explore just what that means. The elements of lighting that we can control in the theatre include the following: Intensity brightness, darkness with the power of modern lighting instruments and the degree of control provided through computers, this can range from barely visible dim lighting to very intense, almost blindingly bright lighting Color hue — red, blue, green, etc.
Distribution includes the following concepts: Direction angle and height light can come from overhead, from in front, the side, or even from behind the actor and the setting. We can also use a gobo to add a detailed image to a light beam — more on gobos a little later in this supplement Movement strobe, follow spot, cross fading there are several ways that a lighting instrument can be used to create movement on stage.
Throw and Beam The first idea that we need to understand about lighting instrument are the concept of throw and beam. Perhaps the director has a particular colour scheme in mind for the piece. The costume designer must then select suitable garments and consider fabric and colours that are right for era and character. They will begin by producing sketches so the director can see what the characters will look like in relation to one another and then may make some sample costumes for characters to try.
They must also work with the lighting designer as lighting can have a huge effect upon the visual impact of a costume.
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