In the same year, a casual conversation led to one of Planché's more lasting effects on British theatre. In August 1823, in an issue of The Album, James Planché published an article saying that more attention should be paid to the time period of Shakespeare's plays, especially when it comes to costumes. He also made sure the materials were authentic and specific, using real chain mail, armor, swords, etc. He advocated for authenticity and accuracy of the script and time period, therefore he refused to let actors tamper with their own costumes. For example, Georg the second, Duke of Saxe-Meiningen took personal interest in the theatre and began managing troupes. Art began to copy life and realistic characteristics were favored especially during the 19th century.

This practice continued until around the 1750s when costumes became relevant to the character again. Her practice soon became standard for all tragic heroines' Major actors began to compete with one another about who would have the most lavish stage dress. 'Ordinarily, fashionable garments were used in both comedy and tragedy until 1727, when Adrienne Lecouvreur adopted the much more elaborate and formal court dress for tragedy. 'Ancient', which was out of style clothing used to represent another period 'Antique', older additions to contemporary clothing to distinguish classical characters Dreamlike, 'fanciful' garments for supernatural or allegorical characters 'Traditional' clothing which represented only a few specific people, such as Robin Hood, or 'National or Racial' costumes that were intended to set apart a specific group of people but did not tend to be historically accurate. The costumes could be divided into five categories: The majority of characters were clothed in contemporary Elizabethan fashion. Garments were very expensive because only the finest fabrics were used. Later, in Elizabethan performance during the 1500-1600s in England, costume became the most important visual element. In most instances actors had to supply their own costumes when playing a character found in daily life. Stereotypical characterization was key when clothing performers for this style of theatre. The same is true for the Romans, who continued the mask tradition doubling a mask made doubling roles easier.ĭuring the late Middle Ages in Europe dramatic enactments of Bible stories were prevalent, therefore actual Christian vestments, stylized from traditional Byzantine court dress, were worn as costumes to keep the performances as realistic as possible. Some masks were constructed with a cheerful as well as a serious side on the same face in an attempt to indicate a change in emotion without a change of mask. They varied depending on whether they were used for comedic or dramatic purposes. Ritualized masks were used giving each character a specific look.

Sculpture and vase paintings provide the clearest evidence of these costumes. History Īncient Greek village festivals and processions in honor of Dionysus (See also: Dionysia) are believed to be the origin of theatre, and therefore theatre costume. Costume design should not be confused with costume coordination which merely involves altering existing clothing, although both create stage clothes.įour types of costumes are used in theatrical design: historical, fantastical, dance, and modern. Costumes may be for a theater, cinema, musical performance, cosplay, parties, or other events. The most basic designs are produced to denote status, provide protection or modesty, or provide visual interest to a character. In many cases, it may contribute to the fullness of the artistic, visual world which is unique to a particular theatrical or cinematic production. Costume may refer to the style of dress particular to a nation, a class, or a period. Costume design is the creation of clothing for the overall appearance of a character or performer.

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