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 Benvolio, Capulet, a Lawyer, and a Guest of Capulet in a production of "Romeo and Juliet", English National Opera, London Coliseum, 1981 |
Physical description | Costume design for Benvolio, Capulet, a Lawyer, and a Guest of Capulet. Four full length male figures in Renaissance dress. Left, wearing a belted open-fronted tunic with shawl collar and wide short sleeves over a banded gathered shirt with full length slashed sleeves with a small brimmed cap. Centre left an old man wearing a knee-length tunic, belted below waist, with a square neck and full short sleeves over a shirt gathered into neck with fitted sleeves slashed at elbow. Centre right a man wearing a full length robe with hanging sleeves and wide fur collar and a small brimmed cap. Right a male figure wearing a full gown, pleated at sides, with a decorative pattern at neck and a chain of office; the wide sleeves are stiff and horizontally pleated; on his head a high brimmed hat with a decorative 'pin' |
Production type | Unique |
Marks and inscriptions | Benvolio / Capulet (Bedroom) / Lawyer / Capulet Guest |
Credit line | Given by Dr Ray Ingram |
Object history | Costume design by Alix Stone for Benvolio, Capulet, a Lawyer, and a Guest of Capulet 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.89-2004 |
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Record created | January 13, 2005 |
Record URL |
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