REPORT OF GROUP 2 Costume Designers, Make-up Artists, Technical Directors
REPORT OF GROUP 2Costume Designers, Make-up
Artists, Technical Directors
COSTUME DESIGNER
Costume designer a person whose responsibility
is to design costumes for stage production.
responsible for the overall look of the clothes and costumes
enhances a character's personality
Types of costume designer
Freelance designer
- is hired for a specific production by a theatre, dance or opera company, and may or may not actually be local to the theatre that he or she is designing for.
Residential designer
- is hired by a specific theatre, dance or opera company for an extended series of productions.
- is consistently "on location" at the theater, and is readily at hand to work with the costume studio and his or her other collaborators
Academic designer
- one who holds professorship at a school.
- primarily an instructor, but may also act as a residential designer to varying degrees.
- often free to freelance, as their schedule allows.
MAIN DUTIES
1. Read and analyze the script.2. Work closely with the director and
other designers (set designer, lighting designer, make-up artist) on the production team to develop design concepts.
3. Do research to flesh out design concepts. (for example, geographical setting, time period, characters and their relationships and actions)
4. Produce drawings and color renderings of costumes.
5. Meet with the wardrobe manager and head cutter to discuss each design.
6. Purchase fabrics, new or used clothing and accessories.
7. Develop and implement a budget for costume-related expenses.
8. Develop patterns for costumes if it is necessary.
9. Attend fittings and rehearsals. (for theatre, dance or opera productions).
Examples of costumes
Make-upArtist
What is a make-up artist?
An artist whose medium is the human body
Applies make-up and prosthetics on the actors to make their character more convincing
Make-up techniquesFashion Make-up
Used in magazine photography and runway shows
commonly used in television and film ranging from the natural prime look to more sophisticated applications such as color balance
Theatrical Make-up used as a method in conjunction with stage
lighting to highlight the actors' faces in order make expressions visible to the audience from moderate distances
Special Effects Makeup (FX Makeup) exhibit metaphysical characteristics as
well as fantasy makeup Artists use prosthetics and plaster
casting for non-human appearances
Airbrushing use of an airbrush which is a small air-
operated device that sprays various media including alcohol and water-based makeup by a process of nebulization
Bridal Makeup Make-up technique exclusive for
weddings
High Definition involves the use of light reflectors and
ingredients such as minerals to give the skin a flawless finish
TECHNICALDIRECTOR
MAIN DUTIES
Generating necessary working drawings for construction
Budget estimation and maintaining of accounts
Materials research and purchasing
Scheduling and supervising build crews
Lights Director
Work with the director, choreographer, set designer, costume designer, and sound designer to create the lighting, atmosphere, and time of day for the production in response to the text, while keeping in mind issues of visibility, safety, and cost
Lighting was the key to imitate natural effects to enhance, change shape, mood, and tone
Objectives
1. Provide visibility2. Help establish time and place3. Help create mood and tone4. Reinforce the style of production5. Provide focus on stage and
create visual compositions6. Establish rhythm of visual
movemnet
Influences of Lighting
1. Color – changed by using gels (colored pieces plastic)
Heat resistant – the only color light that will get through is the color of gel
Mixing of Colors – warm lights (amber, straw, gold) with cool colors (blue, blue-green, lavender) can produce depth and naturalness
2. Direction/Distribution – can be up to 150 lights in production
3. Intensity/Brightness – controlling the amount of current to instrument – dimmers control that amount
4. Form – the shape of light
5. Movement – alterations in the factors will give impression of movement – this would also include the movement of a “follow-spot” (powerful spotlight as that swivel and shine on different places)
Instruments
a. Spotlightsa. Ellipsodal reflectors – long distances, sharp
and clear
b. Fresnels – lens had less and more even mass, so it would heat evenly, avoiding the problem of regular convex lenses heating unevenly; thus cracking – “fill” light – diffused, to wash or blend
c. Striplights, Footlights – footlights used very little these days
d. Flood lights – no lens, no color – for a flood of light
Sounds director
Expected to oversee every element of audio ised in the production, such as sound effects, dialos and music
Usually supervises the script as well, and makes sure the speech is clean and loud enough for the audience
SET AND PROPS DESIGNER-he or she designs these physical surroundings in which the action will take place.
MAIN DUTIES read the script many times, both to get a
feel for the flavor and spirit of the script
list its specific requirements for scenery, furnishings and props. The time of day, location, season, historical period and any set changes called for in the script are noted.
The set designer's focus here is on figuring out everything that may be needed based on the dialogue in the script.
COLLABORATION The set designer will meet with the
director and the other members of the design team to discuss the details of the set and the director's interpretation of the play.
The set, costume and lighting designers also meet and work together to ensure the creation of a unified look and feel for the production.
The set should:
-suggest the style and tone of the whole production
-create mood and atmosphere
-give clues as to the specific time and place of the action
-offer creative possibilities for the movement and grouping of the actors
The overall look of the set also gives the audience information about the director's concept of the production.
All the scenery, furniture and props the audience sees at a production of a play make up the set design.
STAGE PROPERTIES OR PROPS
All the things appearing on the stage other than the scenery
Set props like furniture, draperies and decorations are the types of things that complete the set and they need to be part of the set design.
Different Types of PROPS Hand props are anything handled or
carried by an actor. They include staffs, food, weapons, lanterns and candles, canes, staffs, parasols, and practically anything else an actor could or might pick up.
Personal props are props worn or carried by a particular actor and issued to him rather than stored on the prop table.
Set props include most obviously furniture. These are objects that add to the look of the setting, with which the actor interacts.
Set dressing consists of similar items, but which the actor doesn't usually handle. Some set dressings are "practicals", props like lamps or chandeliers that perform on stage as they do in real life.
--Trim props are a type of set dressing that hang on the walls, such as pictures, window dressing and curtains, and so on.
Mechanical special
effects are part of the prop department. That basically means any special effect that is not plugged in to operate. If a pull pin or a string operates a trick, it is a prop, but if an electric solenoid trips it, it is under electrics
Atmospherics includes fogs, smokes, snow, etc.
Greens are any plant, live or artificial.
Purpose of Props
Dress the scene
Contribute to look and feel of scene
Help fill space appropriately
Interpret the play
Contribute to the style and mood of the play
Add info about characters
Aid the actor
Help actor in character, movement and business
HOUSE MANAGER
concerns with:
the selling of tickets
the ushering of patrons in front of house areas
the maintenance and management of the theatre building itself.
House management staff
-usually work for the theatre, under the supervision of the house manager, and not for the theatrical troupe which is currently occupying it.
-Often in regional or smaller theatres the responsibility falls under the aegis of the production manager.
In any case, house management works closely with the production management team for the presentation of the theatrical production.