Costume Design
1981 (made)
Artist/Maker |
A theatre design does not have to show full figures or give every detail of a costume. Alix Stone has assumed the wearing of stockings beneath the breeches and these would come from stock, dyed if necessary, rather than be made from scratch; it is more important to show the style of jerkin and breeches.
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 | |
Materials and techniques | |
Brief description | Costume design by Alix Stone for an unidentified male character in a production of "Romeo and Juliet", English National Opera, London Coliseum, 1981 |
Physical description | Torso and upper legs of male figure, wearing a short jerkin with vertical slashing and laced across the front, held by shoulder straps, over a loose low'necked shirt; the upper breeches are vertically slashed and with a triangular bicoloured codpiece. |
Production type | Unique |
Marks and inscriptions |
|
Credit line | Given by Dr Ray Ingram |
Object history | Costume design by Alix Stone for an unidentified male character in a production of Charles Gounod's opera "Romeo and Juliet", performed by the English National Opera at the London Coliseum, January 14th 1981. J. Barbier & M Carre's libretto was translated by Edmund Tracey. The production was directed by Colin Graham; conducted by Louis Fremaux; lit by Mark Henderson; choreographed by Pauline Grant; and the fights were arranged by Peter Woodward. The cast included John Brecknock as Romeo, and Valerie Masterson as Juliet. The production was subsequently revived at the London Coliseum in January 1983. |
Production | Reason For Production: Commission |
Associations | |
Literary reference | Romeo and Juliet |
Summary | A theatre design does not have to show full figures or give every detail of a costume. Alix Stone has assumed the wearing of stockings beneath the breeches and these would come from stock, dyed if necessary, rather than be made from scratch; it is more important to show the style of jerkin and breeches. 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.82-2004 |
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Record created | January 13, 2005 |
Record URL |
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