Costume Design
1981 (made)
| Artist/Maker |
Audiences need relatively little information to recognise a period and here the pleated, skirted tunic with cloaks and slashed sleeves are sufficient to set the time as Renaissance. Designers usually draw individual designs for the costumes, but Alix Stone would often group characters together; this helped the makers see how the costumes related to each other on stage.
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 Stephano, Benvolio, and Mercutio in a production of "Romeo and Juliet", English National Opera, London Coliseum, 1981 |
| Physical description | Costume design for Stephano, Benvolio, and Mercutio. Five three-quarter length male figures in Renaissance costume: far left, a loose body-length fastened cloak, with shawl collar and device over left arm; second left wearing a pleated tunic with slashed sleeve and a small brimmed cap; centre wearing an overjerkin with open chest, shawl collar, large slashed sleeves to elbow, a banded shirt, a brimless cap and tights with a herringbone pattern down inner thigh; second right a plain overjerkin, laced across the front, with a heraldic device on left shoulder; right an elaborate crossover jacket fastening on the right shoulder, with wide short sleeves decorated with heraldic devices and, on the chest, decorative scrolls and devices. |
| Production type | Unique |
| Marks and inscriptions |
|
| Credit line | Given by Dr Ray Ingram |
| Object history | Costume design by Alix Stone for Stephano, Benvolio, and Mercutio 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 | Audiences need relatively little information to recognise a period and here the pleated, skirted tunic with cloaks and slashed sleeves are sufficient to set the time as Renaissance. Designers usually draw individual designs for the costumes, but Alix Stone would often group characters together; this helped the makers see how the costumes related to each other on stage. 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.88-2004 |
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| Record created | January 13, 2005 |
| Record URL |
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