Costume Design
1966 (made)
Artist/Maker |
Theatrical costumes are not simply clothes for the actor - they often carry signs and symbols which reveal character or emotion. This design, for the devil Mephistopheles in the play Faust, includes elements from many sources, from the traditional cloven hoof and tail to the horns. The designer has incorporated a pig mask - pigs were often symbols of lust, greed, gluttony, sloth and sensuality - and a red cloak, a favourite colour for Mephistopheles as it is a reminder of the fires of hell which awaits Faust.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.
Object details
Object type | |
Brief description | Costume design for Mephistopheles in 'Doctor Faustus', Nottingham Playhouse, 1966 |
Physical description | Costume design for Mephistopheles. full length, the body covered with hair, the feet with cloven hoof; from the back is fixed a tail. Over the body is a reddish cloak, from which protrude 'cloven' hands. Over the face is a pig-like with a central and two side horns. To the right is a black and white sketch of the mask in profile. |
Production type | Unique |
Marks and inscriptions | 1 "Mephistophiles / 1st Costume"
2 " cloak Base Red bits" (Pencil. Inscription 1 is on separate label, stuck onto design.) |
Credit line | Given by Dr Ray Ingram |
Object history | Costume design for Mephistopheles in Christopher Marlowe's play 'Doctor Faustus' performed at the Nottingham Playhouse, May 25th 1966 |
Production | Reason For Production: Commission |
Subject depicted | |
Association | |
Literary reference | Doctor Faustus |
Summary | Theatrical costumes are not simply clothes for the actor - they often carry signs and symbols which reveal character or emotion. This design, for the devil Mephistopheles in the play Faust, includes elements from many sources, from the traditional cloven hoof and tail to the horns. The designer has incorporated a pig mask - pigs were often symbols of lust, greed, gluttony, sloth and sensuality - and a red cloak, a favourite colour for Mephistopheles as it is a reminder of the fires of hell which awaits Faust. Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind. |
Collection | |
Accession number | S.29-2004 |
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Record created | December 20, 2004 |
Record URL |
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