me DESIGN AND execmmq or coswmes FOR A PRODUCTION OF NORA MACALVAY'S BEAUTYAND 15; BEAST 'l‘hasisIOI' rh. Degree oi M. A. MICHIGAN STATE UNIVERSITY PheIia Carraci Ruffledge I962 LIBRARY Michigan State University ABSTRACT THE DESIGN AND EXECUTION OF COSTUMES FOR A PRODUCTION OF NORA MACALVAY‘S BEAUTY AND THE BEAST by Phelia Carraci Rutledge A creative project for a thesis problem evolved upon the request of this writer to design and construct the costumes for Beauty and the Beast. Initially, the project involved an analysis of the play, a study of the Italian Renaissance as an historical costume period, and the designing of costumes that would contribute to the play, the characters, and the actors. Once the design process was completed, the construction of the costumes proceeded. This entailed procurement of fabric, notions and trim, the building of the costumes, constructing accessories and assembling the costumes for dress rehearsals and performances. Upon completion of the project, the writer evolved several conclusions. The costumes appeared to have enhanced the setting in terms of color coordina— tion; and the lines of the costumes adhered and compli- mented the lines of the set. For the most part, the Phelia Carraci Rutledge groupings of the actors as demanded from the script were correlated with one another through color and silhouette. The characterizations appeared to have been visually enhanced through the style of costume chosen for each character, and the actor himself seemed to be compli- mented with the choice of silhouette and color. In gen- eral, the initial purposes to be attained through the use of costumes and make-up were accomplished, contributing to the successful execution of the production. THE DESIGN AND EXECUTION OF COSTUMES FOR A PRODUCTION OF NORA MACALVAY'S BEAUTY AND THE BEAST BY Phelia Carraci Rutledge A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1962 ACKNOWLEDGEMENTS The writer of this thesis wishes to express appreciation to Mr. Edward Andreasen for his guidance, advice and encouragement given while directing this study. Gratitude and appreciation are extended to Mr. Jack A. Byers for his help and contributions made during the execution of the project and the final preparations of the study. Many thanks are extended to the students who con- tributed their time and effort to the success of the pro- ject, with special appreciation to Mr. Farley Richmond and Miss Susan weiner for their continual aid throughout the development of the study. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS . . . . . . . . . . . . . . . . LIST OF TABLES . . . . . . . . . . . . . . . . . LIST OF FIGURES . . . . . . . . . . . . . . . . . INTRODUCTION . . . . . . . . . . . . . . . . . . . Introduction to the problem Statement of the problem Importance of the study Limitations Organization of the thesis Chapter I. DESIGN IN CHILDREN'S THEATRE . . . . . . . Basic Principles of Design Application in Children's Theatre Design Principles in Beauty and the Beast II. FIRST CONSIDERATION-—THE PLAY . . . . . . . Summary of the Action Early Stages of Planning III. THE ITALIAN RENAISSANCE . . . . . . . . . The Temper of the Times The Influence upon Dress Early Renaissance Clothing--Men Early Renaissance Clothing--Wbmen Other Characteristics Historical Background--Costume Design iii U1U'IWNI-4 12 15 l7 17 20 24 24 29 31 34 38 4O Chapter IV. COSTUME AND CHARACTER CORRELATION Introduction Descriptions Conclusion V. ORGANIZATION AND EXECUTION OF MASKS, AND MAKE-UP . . . . Costumes Budget Pattern Details Masks Make-up VI. EVALUATION AND CONCLUSION . . APPENDIX 0 O O O O O O O O O O O O 0 Photographs of completed costumes BIBLIOGRAPHY . . . . . . . . . . . . iv COSTUMES, Page 42 42 42 6O 80 80 87 93 117 120 126 130 130 146 LIST OF TABLES Table Page 1. Costume Chart . . . . . . . . . . . . . . . 62 2. Production Schedule, January 7--February 5 . . 84 3. Measurement Chart . . . . . . . . . . . . . 86 4. List of Expenditures . . . . . . . . . . . 88 5. Items from Stock . . . . . . . . . . . . . 91 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. LIST OF FIGURES Prince Armand . . . Queen . . . . . . . . . . . . . Pages . . . . . . . . . . . . Fairy Godmother . Beauvais . . . . . . . . . . . Beauty I . . . . . . . . . . . Beauty II . . . . . . . ' Aurelie I . . . . . . . . . . . Aurelie II . . . . . . . . . Alphonsine I . . . . . . . . Alphonsine II . . . . . . . . Antoinette . . . . . . . . . , Renard . . . . . . . . . . . . Renard and Antoinette-~Apes . . Pattern Details--Basic Patterns Pattern Details--Basic Patterns Pattern Details--Basic Patterns, Pages' Hats . . . . . . . . . Pattern Detail-—Prince Armand . Pattern Detail--Prince Armand Vi Page 66 67 68 69 7O 71 72 73 74 75 76 77 78 79 95 96 97 98 99 Figure Page 20. Pattern Detail--Queen . . . . . . . . . . . 100 21. Pattern Detail--Fairy Godmother . . . . . . 101 22. Pattern Detail-~Beauvais . . . . . . . . . 102 23. Pattern Detail--Beauvais . . . . . . . . . 103 24. Pattern Detai1--Beauty I . . . . . . . . . 104 25. Pattern Detail--Beauty II . . . . . . . . . 105 26. Pattern Detail--Aurelie I . . . . . . . . . 106 27. Pattern Detai1--Aure1ie II . . . . . . . . 107 28. Pattern Detail--A1phonsine I . . . . . . . 108 29. Pattern Detai1—-A1phonsine II . . . . . . . 109 30. Pattern Detail--Antoinette . . . . . . . . 110 31. Pattern Detail--Renard . . . . . . . . . . 111 32. Pattern Detai1--Renard . . . . . . . . . . 112 33. Pattern Detail--Antoinette, Ape Costume '. . . . . . . . . . . . . . 113 34. Pattern Detail--Antoinette, Ape Costume . . . . . . . . . . . . . . 114 35. Pattern Detail-—Renard, Ape Costume . . . . . . . . . . . . . . 115 36. Pattern Detail—-Renard, Ape Costume . . o . . . . . . . . . . . 116 vii Figure 37. 38. 39. Mask--Armand as Beast Mask--Renard as Reni Mask-—Antoinette as Toni viii Page 123 124 125 I N TRODUCTI ON Introduction to the problem. Every year, the theatre department of Michigan State University produces one play primarily for children. The faculty selects the play at the beginning of the season, and students produce the play under staff direction. The choice of play is an important consideration in the department's philosophy regarding children's theatre-~children should be pre- sented plays of high quality in choice of both script and technical representation, and every effort should be made. to maintain high standards of production. A cooperative effort is created between director, actors, and technical personnel to produce for children a play following cri- teria similar to that used for a play for adults. This includes the play selection, a manageable budget, faculty supervision and use of complete settings and costumes. The play chosen for the children's theatre in the 1961-1962 season was Nbra MacAlvay's Beauty and the Beast. Four performances were given in Fairchild Theatre on the campus at Michigan State, February 3 and 4, 1962. The university theatre costumer was also the coordinator of children's theatre and director of this production. With his responsibilities expanded, this writer asked permis- sion to design the costumes. Upon approval of the staff, this production thesis evolved--to design and construct the costumes for Beauty and the Beast. Statement of the problem. After some research and discussion with the technical staff and the director, the following procedure was taken. The production of Beauty and the Beast was to be designed in setting and costume in the historical era of the Italian Renaissance, between 1490 and 1500. The costumer then had a foundation upon which to set the problem. The project included historical research of the period, studies in particular costume techniques for children's theatre, original costume designs for all characters involved, and finally, practical con— struction of each. It was hoped that this costume project would fulfill its contribution to the production and do justice to the interpretation of the play. The total project consisted of designing and constructing sixteen costumes within three and one-half weeks, on a budget of $350. Importance of the study. This type of study pro- vided several advantages for this writer and for the pro— duction itself. First of all, the study presented an op- portunity to become more familiar with a particular his- torical period. A careful study of the Italian Renais- sance added useful knowledge to this costumer's overall comprehension of that era, the one preceding and the one following. From the creative work involved, a study of design techniques for children's theatre created a better understanding of the many facets of costume design. Children's theatre seemed, to this writer, to be a rela- tively youthful area for establishing a criteria for good design; and a greater awareness of its possibilities could be important for contributing to better standards in future productions in children's theatre. Once the costumes were designed, construction became the most im- portant aspect of the costuming process; there would be no accomplishment unless the design was tangibly re- created from the sketch. There have been many techniques developed for acceptable construction, depending upon personal and professional criteria selected. Instead of using a trial-and-error approach, a great deal of pre- planning, discussions with the supervisor, and careful application of the plans were necessary. This study became a valuable part of this costumer's experience in attempting old and new techniques,for her, in construction methods that would produce the most effective costumes in the most effi— cient way. A costuming project should contribute to all other aspects of a production. The motifs and styles should com- plement the setting and the set designer's conception of the period. The costumes should add to the director's overall concept of the play and his ideas of the personal- ities of the characters. Finally, they should enhance the personal qualities of the actor--his physical appearance both in expression and physique and his interpretation of the character. If these objectives have been favorably accomplished, the costumes have given a final finesse to the entire production and have contributed to the creative efforts of all involved. After the production has been completed, the cos- tumes can be placed in stock for future use. This can be an important aspect of costuming in educational theatre. The costumes should fit the play for which they are de- signed, but they should also be of such a general style and line that they could easily appear in another production using a similar motif and period. Adaptability in design and style for more than one show can justify more detailed construction techniques and use of a reasonable budget. Limitations. The limitations on this costume pro- ject lay mostly within the framework of the production. The general period chosen, the Italian Renaissance, narrowed the possibilities of historic costuming. Due to transitional patterns, the costumer worked within a twenty year period, 1490—1510. The play itself placed certain demands upon the cos- tumer. The characters involved in the plot were of certain attitudes and personalities. Even though the costumes were to compliment and visually enhance the personalities of the characters, the costumer was restricted to his tools--those traits that could be carried out only in terms of line, style, motif and color. The costumes were to bring forth visually the mental and physical nature of the characters. Organization of the thesis. In the following chapters, the various aspects of the creative process of costuming are presented. Chapter I discusses the concepts involved in designing for children's theatre, how it remains similar, yet singular, of adult costume design with some initial reference to Beauty and the Beast. A general anal- ysis of the play and the objectives attained in the overall production as decided in preliminary meetings with the director and technical staff are discussed in Chapter II. Chapter III presents a cursory view of the Italian Renais- sance--the temper of the times, the styles, lines, and motifs that encompass the years 1490-1510. After this background, the designs can be viewed in Chapter IV, along with a verbal description of the characters and an elab- oration on the designs created for each character. An "organization" section follows in Chapter V which includes construction patterns drawn to scale of unique costume details, plans of the production schedule, and a com- plete list of all expenditures with an explanation of each item. It also includes comments on make-up and the proc- ess used for the construction of masks for three charac- ters. Chapter VI is an evaluation of the costumes—-the overall effectiveness, problems encountered and overcome, general conclusions and possible changes that may create more effective results. Photographs of the finished costumes are included so that a comparison can be made between the early designs and the finished products. A bib- liography revealing all sources of study noted closes the verbal statements of this work. CHAPTER I DESIGN IN CHILDREN'S THEATRE Basic Principles of Design Many of the principles used in costume design for adult productions apply equally to design for children's theatre. There are five areas of consideration that must be carefully prepared prior to the actual design process. First, the play should be carefully read by the designer. Second, the interpretation of the play and characters depends upon a conference between the director and de- signer. Third, the historical period chosen should be thoroughly researched. Fourth, the actor's physical characteristics should be examined; and finally, the costumer should design the actual costume sketches. The costumer reads the play carefully in order to get an overall impression of the mood, plot, and charac- terizations. The type of play it is needs definition. lCaroline E. Fisher and Hazel Glaister Robertson, Children and the Theatre (Stanford: Stanford University Press, 1940), p. 141. The principles are mentioned in this book; a major part of this discussion is the pro- cedure followed by this writer. 8 Is it a comedy, a melodrama, a tragedy, a farce, or serious drama? The general type of play determines the first step towards costume design. A serious play would call for costumes generally somber, whereas a comedy would require a lighter tone in illusion. Once the play's type is deter- mined, one notes the locale, season of year and time of day. The script may have different locales noted in the directions, inside and outdoors. This immediately tells the designer that adding outdoor wraps is necessary. The locale may be just one setting; but if the characters arrive from elsewhere, they might have to wear wraps upon entrance. If the action takes place during a specific season of the year, the type of garment worn is affected; summer gowns generally differ from wintertime outfits both in color and fabric. Also the time of day, whether morning, afternoon, or evening determines the general style of the garment to be worn. Thus, a cursory read- ing of the play prepares the costumer to consider two basic principles--the type of play and the locale and time in which the action takes place. After reading the play, the designer meets with the director, because his impressions and ideas are the 10 most important ones for the designer to incorporate with his own; the director is, of course, the sole coordinator of all technical aspects of the play. This discussion in- cludes close analysis of the play, the characters, their relationships and any special effects that might be needed in the costumes. At this meeting, each character is care- fully discussed—-it is important for the various impres- sions to be combined and clarified so the costumes will complement the play and the character and unify character- relationships and the mood intended for the play.2 In this analysis of each character, various traits are c1arified--his social status, personal temperament, age, economic background, physical appearance, relationship to other characters and position within the overall structure of the play. With these specific details under- stood and a combination of ideas unified into a single concept, the designer has a clearer impression of the elements of the play that can be enhanced by the costumes. With these impressions in mind, the designer then begins research in the period chosen for the play. The 2 . . Jed H. Dav1s and Mary Jane Larson Watkins, Children's Theatre (New York: Harper & Brothers, Pub- lishers, 1960), p. 185. 11 playwright may establish a particular period in which the play should be produced, or it may be left to the choice of the director, set designer and costumer. Methods of re- search are unique with each costumer. He may utilize one of several sources--costume books, history books, painters' works contemporary to the period, magazines or sculpture. In reviewing all sources, the costumer looks for the basic silhouette of the costumes; he then notes the details of sleeves, necklines, skirts, leg coverings and bodices; and he seeks for a broader understanding of the atmosphere of the period and how this may have affected fashion. After an overall View of the period and the costumes is settled, the designer notes those details and character; istics that could be most suitable for individual charac- ters in the play. After this research, the designer takes into consideration one more aspect-—the actor himself. The costumes should compliment the actor's physical quali- ties and permit him freedom of movement as much as possi- ble. The designer, after consideration of these basic principles, should be ready to turn from research and begin his costume sketches. He is now prepared to design 12 a set of costumes that will, hopefully, blend in color and line, in harmony with the play, the characters and the actors. Application in Children's Theatre The principles mentioned above are all considered in children's theatre. In order to treat a child audience fairly, they should be given just as much attention as any adult audience. A theatrical experience may have some ef- fect on the child's future attitudes towards theatre. Therefore, in order to produce worthwhile theatre, the producing organization exhibits its talents at its best to create the proper atmosphere for the child's growth and experience. However, these principles in design are some- what modified for the child. To a child, what he sees is far more meaningful than what he hears; the visual elements become extremely important.3 The primary approaches to this type of cos- . . . . . . 4 tum1ng 1nclude s1mp11c1ty and exaggeration. For example, 3Ibid., p. 155. 4 . . Th1s concept has been based on the ph1losophy of Mr. Jack A. Byers, costumer at Michigan State University. 13 in a period play for children, historical accuracy should remain consistent with all costumes, but great adherence to small detail is unnecessary because it can be lost so easily once on stage.5 When the details are diffused, the basic symbols in line and color are emphasized. This ap- proach creates, then, several important objectives that should be sought in costuming for children's theatre. First of all, the silhouette of the costume con- tributes a sense of period to the play, harmoniously com- plementing the physical setting. As the period is sug- gested, so is the type of character. The minute the character enters the stage, the "essential quality" of his personality should be suggested--good, evil, austere, etc. "The line, weight and color of the costume will con— tribute a large part to the first impression."7 Along with the concept of character delineation, the costumes should show the relationship of various characters. For example, if there were three royal characters in a play, one of the established royal colors should appear some- where on each costume. A child may see these relationships 5Davis, pp, cit., p. 185 61bid., PP. 185-187. 71bid. 14 much faster if he notes the carry—over in color in the basic garment or even in trim that matches. The general silhouette is another method of showing character affini~ ties. Color and line are the most effective ways to attain this quality. The costumes should also be somewhat symbolic. A particular color and silhouette will arouse ideas and emo- tions related to the impression desired.8 For instance, a gold brocaded gown with angular lines will perhaps sug- gest to the viewer someone of wealth, but severe, perhaps evil in personality. Then, there should be a certain amount of aesthetic beauty brought about through line and color——it is desirable to subject young viewers to good taste and beauty. Finally, a costume should enhance the movement of the actor. He should be able to "feel" his character more sharply if he wears the proper apparel. Miss Winifred Ward most deftly suggests the primary objectives for costume design in children's theatre: 81bid., p. 157. 91bid., p. 184. 15 Details are of little use on the stage, and chil- dren see it less than do adults. The successful costume designer will take care that silhouettes are right and that colors are as cheerful as the mood and period of the play will permit.10 Even though costumes may be simplified and exaggerated, the designer is still being true to the period and honest with his audience. Character and period are duly empha- sized, but the details and complexities are eliminated, creating a costume that will give an atmosphere of the period, mood for the character, and an impression that is consistent with the qualities of the total production. Design Principles in Beauty and the Beast The costumer of this particular play attempted to follow the principles discussed above as closely as pos- sible. The initial reading of the play, meeting with the director, and the historical research were thoroughly accomplished. In terms of character analysis, the per— sonalities and their relationships with one another were studied; and color relationships were emphasized more 10 . . . W1n1fred Ward, Theatre for Ch11dren (Anchorage: The Children's Theatre Press, 1950), pp. 180-181. 16 than line and motif. The silhouettes of the period were kept consistent, but not necessarily relating one charac- ter with another. The most important elements utilized were those of simplicity of design, exaggeration of sil— houette, and proper suggestion of color. The use of these principles have been clarified in Chapter IV where each character has been discussed in terms of personal- ity and choice and design. However, it should be noted that some of the principles emphasized in costuming for children's theatre have been modified and adapted to fit the needs of this particular production. CHAPTER II FIRST CONS IDERATION--THE PLAY Summary of the Action Nora MacAlvay's version of Beauty and the Beast11 is an adaptation of an old French fairy tale. In compar- ing her play with translations of the story,12 the writer has noticed that she has used only the basic elements of the story and has added characters and action which make the story suitable for dramatic production. In Act One, Prince Armand seeks Beauty, his childhood playmate, to be crowned with him on his coronation eve. While he searches for her, two wicked characters, Antoinette and Renard, plot to persuade Armand to choose her for queen. Renard is a magician, and they disguise them- selves as apes in order to gain his audience. While Armand sleeps by the fountain, they transform him into a 1lN’ora MacAlvay, Beauty and the Beast (Chicago: The Coach House Press Inc., 1955). 12Alice Dalgliesh, The Enchanted Book (New York: Charles Scribner's Sons, 1947). pp. 130-153; Virginia Haviland, Favorite Fairy Tales Told in France (Boston: Little, Brown and Company, 1959), pp.38—59; and Andrew Lang (ed.), Blue Fairy Book (New York: Longmans, Green and Co., 1948), pp. 106-128. 17 18 beast in order to frighten Beauty away. This magical change creates a definite obstacle to Armand's future success. Beauty's father, Beauvais, arrives at the palace to sell his merchant goods. While there, Armand decides upon a plan that will bring Beauty to the palace. He permits Beauvais to pick a rose from the magic rosebush and imme- diately demands Beauvais' life for such a misdeed. In lieu of his life, Armand asks for a hostage. Much to the distress of Antoinette and Renard, Beauty allows herself to become the hostage. Act Two finds Beauty and Beast living in happy seclusion; but Beauty longs for the prince she remembers from childhood, and she misses her family. Beast sends her home, knowing he will die because she would not con- sent to be his queen. While she is away, Antoinette tries one last desperate attempt to get Beast to ask for her hand in marriage; Armand decides death offers more if he cannot live with his true love. At home, Beauty prepares for the coronation pro- cession. She is uneasy, because of a strange dream that warns her of Beast's unhappiness. A magic wish brings 19 the conflict into focus. As Beauty starts to leave her home, she sees a rose, seemingly fallen to the floor. This is the message from Beast. She realizes that she loves the Beast rather than a dream prince, and she hurries back to his palace. Beast is almost dead when she arrives; Beauty promises to be his queen; and suddenly, the spell is broken. Beast becomes Prince Armand once again, and the happiness of the two is complete. Because of an en- tanglement in the magical process, Antoinette and Renard remain apes forever. Within the structure of this plot, some qualities of the children's play are well executed. The conflict is worthy; the characters appear very realistic; and the element of suspense remains consistent until the end. There is a variety in the personalities of the characters, both in the major action and the sub-plot. The theme car- ries a worthwhile note--appearance is a lie, truth may be hidden. This is brought out especially when the Fairy Godmother appears to Beauty to help her make a decision-- "Beauty/ Truth is a hidden thing/ Appearance is a lie."13 13MacAlvay, 2p, cit., p. 42. 20 Also, when Beauty realizes she really loves Beast, she pledges herself to him with the following lines: "I am coming back. . .I left you for a little part of my child— hood. I left you for a painted picture on the wall. They are nothing but appearance. . .I almost let my eye deceive my heart."14 Also, with the dishonest attempts of Antoinette and Renard, the idea of goodness and truth con- quering evil is developed as an overall attitude of the play. Early Stages of Planning There were some technical elements that arbitrar- ily limited the concepts of design, both in setting and costumes. A discussion with the technical staff defined these elements so that all of those concerned with the production could work from the same frame of reference. The locale of this particular script took place within one setting. All of the action occurred in the enchanted palace of Prince Armand. It was a hidden edi- fice and contained magical powers for only the prince. 14Ibid., p. 47. 21 There were no references to any special season of the year. This was determined by the staff so that the time of year when outdoor wraps or heavy clothing were usually worn would be unnecessary. This permitted the costumer to choose materials to suit more the character than the weather. All of the action occurred in the daylight hours but on different days within a two-week period. However, in order to simplify character relationships and to strength- en recognition of each person, change of costume was kept to a minimum and made only when specifically mentioned in the script. For example, Prince Armand remained in the same costume throughout the play; and Beauty changed only because the Queen gave her another gown to wear. Thus, the play set limited demands on the designers in terms of locale and time. In an attempt to correlate sets and costumes, cer- tain objectives for the total production were established. A highly romanticized quality in the set and costumes was desired. This romantic concept would carry across a "feeling" for a fairy tale, but it would not suggest ex- . treme delicacy. The general lines of the costumes and setting were to be soft and diffused, intimating to the 22 viewer that quality of being apart from oneself. The sets and costumes were to transport the audience to a very old castle hidden far away in Never-Never—Land. The analogy to the whole atmosphere to be created might be a photo- graph. If one were to take a small detail and enlarge it, the lines of that detail would be broadened, softened and somewhat blurred. The sharp reality of detail would change to that of unreality, not quite definable. Within the technical aspects of a play, Beauty and the Beast was to suggest this atmosphere, usually a very favorable char- acteristic for young viewers. A contrast to this roman— tic idea would be to stylize the character-apes, Reni and Toni, in comic tones. The realization of this idea would be determined greatly by the costumes. The period to be used was an optional choice. The staff felt that the Italian Renaissance would contri- bute the most to carrying out the initial purposes of the production in the style of both set and costumes. It was felt that in the costumes, this era would contribute best to period and character delineation. Even though this period was the one selected, it did not limit the designers to the locale and explicit fashion of Italy. The people 23 could have lived anywhere, with the Italian characteristics strong enough to influence fashion and thought. The de- signs were to be lush and elegant, yet remaining taste- fully simple in line. There was to be a luxuriousness of quality rather than detail. At this initial time of de- cision, the important principle of children's theatre was brought into view—-simplicity with a certain amount of exaggeration. With this preliminary planning, the basic style, atmosphere, and mood for the production were created. The period of time in which these qualities would best be developed was chosen. The next step for the designer of costumes was to become familiar with the Italian Renais- sance in order to design costumes with silhouettes and styles most becoming to the individual characters. CHAPTER III THE ITALIAN RENAISSANCE The Temper of the Times Before one discusses actual wearing apparel, a contemplation of the period itself provides one with a picture of the background in which the costumes were worn. Some laymen tend to believe that European countries were in their bleakest winter during the Middle Ages in terms of knowledge and environment, and suddenly the bloom of spring burst upon them in the form of Renaissance ideas. This does not present an accurate picture. It is not intended to present here a scholarly analysis of the development of the Renaissance--a general description of the vast changes in the lives of the people who were contemporary to this period should suffice. The emphasis on vital ideals in life differed greatly between the Middle Ages and the Renaissance. The Medieval period was strictly controlled by the Church. The Church set the laws of daily living for man, and the major purpose in life was to live in such a Christian way 24 25 that man might reach the Kingdom of Heaven.15 This ideal followed the whole concept of Medievalism, to put order into a world and universe of disorder. The laws of nature and man depended upon spiritual explanation. This search for universal awareness in the light of God could be physically expressed best in man's actions. Man related his understanding of nature and the universal order to his own life; and in order to succeed, he had to live with humility, patience,and unselfishness--the Christian ideal.l6 Because of this religious emphasis, secularism was frowned upon; and the people maintained simplicity in dress, man— ners, thought and deed. The Medieval period should not be considered ignorant nor dark, merely Cloistered or mis- interpreted. The Renaissance appeared to have infiltrated into Italy before it was felt in other countries.17 There were 15’ . . . . Emile Male, Religious Art in France, XIII Cen- tury: A Study in Medieval Iconography and Its Sources of Inspiration, trans. Dora Nussy (London: J. M. Dent & Sons, Ltd., 1913), p. 397. 16Ibid., p. 128. 7 . Raymond Phineas Stearns, Pageant of Europe (New York: Harcourt, Brace and Company, 1947), p. 7. 26 several factors that explained this. First of all, Italy was geographically located in a central focal point. The country itself was wealthy in antiquities; and it was close to Greece, the original source of the classics. Access to these materials was relatively easy; therefore, the liter- ature was first read, evaluated, and adopted by the Ital- ians. Christianity and clericalism had thrived in Italy, but new thoughts and ideas remained close at hand.18 Italy was also in a central location for trade and readily accessible for commerce between countries.19 As new materials and wealth came into her ports, Italy's interest in economics increased. This increase in trade preceded a natural desire to purchase material goods, and the people were ready to receive them. The gradual break from religious humility began with the new material interest. The trade increase gradually produced a rise in wealth. Not just a few people capitalized on it, but many. This great flux in economics contributed, then, to 27 the growth and development of the middle classes.20 These people began to feel the spirit of individualism, that each could profit and gain more personal capital. This sense of economic gain became one of the greatest influ— ences upon the change in ideals; the spirit of individual- ism and the desire for profit ran in a continuous cycle: "The profit motive became stronger in economic life, individualistic enterprise offered greater promise, great- er wealth made possible greater capital, and capitalism gained a new impetus on economic affairs."21 The avail- ability of wealth increased individualism, and individual craft increased capital. It should be obvious that the new awareness of learning, outside the teachings of the Church, and a tremendous emphasis on commercial trade and capital brought about a whole new attitude towards life. Religious piety and simplicity gradually faded into the background and secularism entered with full force. The whole emphasis in philosophy veered from the intense ecclesiastical approach 28 to the secular.22 Along with this emphasis on worldliness developed an "intensified individualism," a self- assertiveness of the individual personality to produce and expose his capabilities.2 These changes in living and philosophy soon spread to other countries through trade and some military con- quests, andtmey were quickly adopted because of the readi— ness of the people to accept a change. Naturally, this new philosophy and acceptance of it did not occur overnight. It was a gradual change, even in Italy, for trade, commerce, and intellectual awareness to become really important. It was a fast growth, but there was also a definite transitional period. Italy was the focal point; and from her, all ideas fanned out, eventually engulfing all of Europe: The Renaissance. . .no longer appears as a sudden beam of light cast upon mankind in a "dark age;" rather, it appears as a slow change of color from the hued tones of a clerical age to the screaming hues of an increasingly worldly society.24 22 . . Lucy Barton, Historic Costume for the Stage (Boston: Walter H. Baker Company, 1935), p. 183. 23Stearns, 2p, cit., p. 5. 24Ibid., p. 4. 29 The Influence upon Dress These characteristics of a gradual change in life brought about a quickened interest in personal tastes. With new materials so readily available, people desired to display their wealth both in their possessions and in their clothes. The first influence on style began with the German-Swiss patterns; but by the latter part of the fifteenth century, Italy had taken precedence when her trade brought in better and more beautiful fabrics, accessories and fashion ideas.25 The people of Medieval times emphasized the softness and simplicity that went along with their philosophy; the Italians emphasized fash- ions that harmonized with their new, individualized out- look. People dressed for the sake of fashion rather than for functional reasons; if there was no reason for display, it was invented.26 Even though other countries soon followed her fashion trends, Italy led at first in 5 Douglas Gorsline, What People WOre (New York: The Viking Press, 1952), p. 41. 26Frank Alvah Parsons, The Psychology of Dress (New Ybrk: Doubleday, Page & Company, 1923), p. 57. 3O outward appearance and created an image more beautiful and more perfect than any other European area. It has been noted that the change in philosophy from the Medieval concept to that of the Renaissance was gradual. So it was in fashion. The trends did not change with the first appearance of a renovated idea. The transi— tion lasted for about fifteen years; and it was not until the early part of the sixteenth century that fashion be- came set within a central theme.28 The fashion era in which Beauty and the Beast was costumed was in the center of this transition. During this time there was a definite carry-over of some Medieval styles, and the overall silhouette of a garment did not take on the abnormal shapes of a few years later.29 There was no distortion of the figure, no addi- tion of padding. It might be stated that this transi- tional period, a primary innovation of Italy, emphasized 27Jacob Burckhardt, The Civilization of the Ital- ian Renaissance (London:Phaidon Press LTD, 1945), P. 223. 28Barton, 9p, cit., p. 184. 29Ibid. 31 more elaborate fabrics and more definite silhouettes, with the naturalness and softness of line retained from the more gentle Medieval period. In order to present a more precise image of the period, observations of both men and women's clothing should be noted. Early Renaissance Clothing--Men The general silhouette of a costume of this phase of the Italian Renaissance emphasized vertical lines. The garments either followed the natural lines of the body or loosely flowed about. The waist and shoulders followed the lines of the natural physique. The basic fashion re- mained somewhat more stable than the women's fads, and they retained more of the Medieval quality--serious and dignified. The lines remained the same; fabric and color added the Renaissance "new look."30 It might be added that the aristocracy established the fashion, and the middle classes followed it closely. The shirt worn next to the body showed through the doublet at the neckline and at the sleeves.31 The *- 0 Parsons, 92, cit., p. 89. 31 Barton”. loc. cit., p. 188. 32 neckline of the shirt varied from a horizontal, untrimmed line across the collarbone to one trimmed with laces that fell over the front of the doublet. The sleeves were usually very full and gathered at the wrist into a band or ruffle. The jerkin or doublet that fitted over the shirt followed the natural waistline, a few of which had an in- serted, flat stomacher.32 The neckline varied greatly, some being high-necked, some square, and others v-necked and laced across the shirt.33 The sleeves tied into the armseye and remained open in back so the shirt sleeve puffed through-~an early edition of the "slashed sleeve" yet to come. The skirts that were attached to the doublet varied from the thigh to below the knee in length, depend- ing upon personal taste. They invariably were constructed as pleated skirts, pressed and unpressed. 32 . Doreen Yarwood, English Costume from the Second Century B. C. to 1952 (London: Batsford, 1955), p. 100. 33Barton, pp, cit., p. 189. 34 . . . Albert C. A. Rac1net, Le Costume Historique, Tome IV (Paris: Firmin—Didot et Cie, 1888). Based on observations of the illustrations in the volume. 33 Another garment frequently worn by men of wealth was the gown.35 It was usually floor—length, pleated in loose folds at the shoulders or chest so it flowed easily around the body. The collar was very wide at the back and the shoulders, tapering to the hem in front. Sometimes it was worn open to reveal the doublet, or it was belted. The sleeves complemented the large flowing lines of the gown and had deep cuffs at the edges revealing the beauti- ful silk or fur lining of the garment. In some gowns the sleeves were floor-length, containing a slit for the arm to pass through. Upon their heads a standard hat was worn by almost all gentry. It was a "bonet"36 with a round or square shape with a turned-up brim, sometimes slit in the center. It was worn plain or with a jewel pinned on one side for decoration. There were numerous variations of the bonet, each dependent upon the wearer.37 Men still wore tights upon their legs whether or not they were clothed in a 35Yarwood, pp, cit., p. 102. 36Ibid. 7 . . Rac1net, loc. c1t. 34 short doublet or long gown, and slightly square—toed slip- pers covered their feet. These relatively simple garments were accentuated and individualized through a choice of rich fabric and opulent color. Also, some garments had jewels sewn on them to make them appear even more luxurious. This grow— ing concern in fashion for men at this time expressed the preliminary realization of sumptuousness and show in style of fashion. Early Renaissance Clothing--W6men The clothing of womenfolk of this transitional period showed a definite display of elegance. Many gowns retained some characteristics of the Medieval period; but by 1500, the change was almost complete.38 Gowns tended less to cling to the natural lines of the body, but they were not yet the stiffened and padded garments of the following Elizabethan era. Waistlines were lowered, petticoats were added, and ruffles and puffed sleeves 38This and the following comments are general ob- servations based on paintings of the period from 1485 to 1510. They include works of Van Dyck, Botticelli, Ghirlandaio and anonymous works. 35 became common characteristics. As with the wearing appar- el of the men, elegance depended a great deal on the jew- els, lacings and fabrics. The bodice of a gown for an aristocratic woman reached the natural waistline in length. The décolletage varied with scoop or square lines, the square neck being prevalent.39 The neckline might have been trimmed with fur, lace or jewels. There was evidence of an underdress, because it would be seen at the neckline and sleeves. The sleeves of the gown still revealed some similarity to those of the Medieval gowns. They were tight—fitting at the armseye, falling long and wide at the wrist; and the lining of silk or fur showed when the sleeve was turned up into a cuff. This shortening of the outer sleeve re- vealed more of the sleeve of the underdress.4O Later, the bodice remained the same, but the sleeves were vol— uminous with puffs at the edge of the armseye with the extra fullness gathered into the wristband. Also, the 39Yarwood, op. cit., p. 103. Barton, Historic Costume . . ., p. 196. 36 oversleeve became divided, tied with points into the arms- eye so the undersleeve puffed over the outersleeve. The skirts of these gowns were almost all made alike, but the waistlines varied in length from just under the bosom to the natural waist. They were very full and either gathered or pleated into the waistband. A small train in the back was a remnant of the Medieval long trains. The underskirts did not show, but they were elab- orately made in order to complement the gown when the skirts were slightly lifted.42 No woman would reveal her entire head of hair. A coif would always be worn, with the lappets on the sides adding a touch of individuality in shape and length. Headdresses were worn, and these were placed over the coif. Woman emphasized the headdress in order to make herself unique from others, since the gowns were so much alike. Some hats were pleated and padded, resembling a Ibid., p. 189. Ibid., p. 196. 37 rounded fan; others were more like a stiffened-and-gathered balloon. The Gable headdress was not yet in high style, but modifications of it were in evidence.43 The important characteristic of all fashionable headgear was height. The women seemed to want to appear very tall and imposing, and the high headdress would contribute to this image. The footgear of the Renaissance woman resembled that worn by the men, the square-toed slippers; and hose covered her legs.44 The middle class women followed the fashion trends of the aristocracy very closely. Due to a definite eco— nomic difference, the transition in terms of the general silhouette was slower, so at the beginning of the sixei teenth century, many women were still wearing the high— waisted, softly gathered gowns with the modest neckline. The Italian womenfolk seemed to have taken the earliest advantage of the expansions in commerce and wealth. They utilized the incoming materials to the 43Ibid., p. 184. 44Ibid., p. 198. 38 fullest in their personal appearance; and their ideas and tastes were taken up by women of other countries, until a fusion of national costume and Italian influence took place. Other Characteristics It has been noted that the type of fabric used played an important part in carrying out the style of dress during this period. The trade from the East became the greatest source of exotic, exciting materials.45 Velvet and satin were commonly known; but there was a tremendous increase in rich, heavy silks, brocaded fabrics, and fine linens. Many of these were heavily embroidered and be- decked with jewels. Herbert Norris contributed a precise list of the types of fabrics that were commonly used; the following examples were only a few on his list: Damask--a woven patterned silk Holland cloth--superior kind of fine linen Cloth of gold--a woven cloth with a warp of gold threads and a weft of silk, colored or gold 5 Parsons, Psychology of Dress . . ., p. 59. 39 Brecade--a heavy, patterned satin46 The fabrics for the middle classes were not quite as splen- did. Many of their garments were made from various types of linen, taffeta, and cotton. There were vast variations in color. Those most desired were the very strong and vibrant hues. Deep in- tensities of red, dark blue, wine and green were among the favorites. Lighter colors were used for contrasting trim. Other complements to the garments' style, color, and texture of fabric were the jewels and motifs placed on the apparel.47 Pearls were sewn on in abundance; and brooches, necklaces, pendants, and rings were worn pro— fusely by both men and women. When the fabrics were pat— terned, five motifs were more popularly used than others. The flower, a fruit, a pomegranate, leaf or pineapple were frequently sewn onto the fabric in various patterns and arrangements. Sometimes a motif covered the entire gown 46Herbert NOrris, Costume and Fashions, The Tudors, Book I; 1485-1547, Volume Three (New Ybrk: E. P. Button and Co., Inc., 1928), p. 129. 47Barton, pp, cit., pp. 198-201. 40 or doublet; at other times it was embroidered on as a border trim. This use of design contributed a definite touch of elegance. Other accessories were often worn or carried. Men wore jewelled daggers, purses and medallions; women wore jewelled girdles from which hung keys, scissors, pomanders or rosaries. Both sexes often wore gloves. It has been observed that the silhouettes of the garments of both men and women were not garish nor out- landish. Their utilization of fabric, color, motifs, and accessories changed a simple garment into one of elegance, luxuriousness, and richness, unsurpassed up to this time of transition from the Medieval to the high Renaissance period. This development could have been influenced by the Italians' concern for fashion and good taste. Historical Background--Costume Design In particular reference to costume design, many details actually maintained in the period are very diffi- cult to construct and sometimes unnecessary. For example, 48Ibid., p. 201. 41 a modern brocaded or patterned fabric incorporates the idea of embroidered material and can be used as an excellent substitute for the real fabric. In costuming, the challenge for the designer is to discover fabrics, trim, and acces— sories that will give the illusion of originality intended for a particular period. This same principle applies to methods of construction. Simplicity in techniques of cos- tuming carry the illusion across the footlights just as readily as the use of original period patterns. These adaptations and modifications used in Beauty and the Beast are clarified in the folloWing chapter. CHAPTER IV COSTUME AND CHARACTER CORRELATION Introduction .A more detailed description of the characters and their costumes follows. These descriptions emphasize the general characteristics of the historical era instead of specific details. The writer has attempted to reveal a correlation between personality traits and choice of cos- tume for each character with some mention of the visual relationship seen between characters. Descriptions Epince Armand. Prince Armand is a young man in his early twenties. He is very masculine in physical ap— pearance and very handsome. He has a warm personality, full of youth and vitality; but he also remains dignified and kingly. He is warm of heart with high ideals of jus- tice, truth and goodness. The color scheme selected for the royalty was blue, red and gold. Armand was dressed in gold and blue. 42 43 These colors were to express his royal position and material wealth. Even though he was very youthful, his garments were longer in length in order to create a more dignified figure. Also, when he was transformed into a beast, more of his hu- man body was covered. The fast change required in the script prohibited a complete change of costume. Armand's doublet was made of blue satin, with gold satin trim. The sleeves were fitted to the wrist. This was a definite variance from the usual sleeves of the period; but under a large-sleeved robe, this type of construction seemed more suitable because the sleeves were almost completely hidden by the robe sleeves. It also prohibited uncomfortable excess material around the actor's arms. A high collar was added in order to cover the prince's neck when he turned into the beast. The gored skirt of satin fell in graceful lines around the lower portion of the body and permitted the actor certain freedom in movement. It was hoped the outer robe would contribute a sense of luxuriousness to the royal prince because of its fullness and length. It was made of gold corduroy that looked like velvet at a distance, with a shimmering blue taffeta lining. These fabrics were chosen in an attempt to create a likeness to 44 those rich fabrics actually used in the period. The collar, cuffs, opening of the robe and the hemline were trimmed with black fur; wide bands of fur were used in order to add width to the actor's natural physique. The robe was worn open during the first part of the play, and it was closed with hooks and eyes at the beast transformation. Qpppp. The Queen is very motherly. She is about fifty years old and moves with the poise that befits a queen. She is very kindly and looks for the good qualities in every- one. She dresses as only a queen should dress. To suggest this type of person, the Queen's basic gown was made from wine and black brocaded satin. The skirt was very full, falling from the natural waistline in un- pressed box pleats. The outer sleeves were fitted into the armseye becoming wider midway between the elbow and wrist, with the back portion of the sleeve falling longer than the length of the arm. In this way, the lining of the outer sleeve and a portion of the inner sleeve were revealed. The outer sleeves were trimmed with black fur to correspond with the trim on Armand's robe. The bodice was out very low in front and back with an inset of gold sand crepe inserted to match the lining of the outer sleeves and the 45 inner sleeves. This technique was to suggest an underdress, with part of the chemise and sleeves showing--corresponding to certain styles of this period. The gown was floor- 1ength with no train. The basic silhouette was pear-shaped --the bodice was tightly fitted, the skirt widened from the waist downward, and the sleeves widened from the elbow. Across the bosom a chain of jewels was draped to create an elegant modification of the lacing motif during this his- torical era. Upon her head the Queen wore a close—fitting coif made of the brocade which completely covered her hair. On top of the coif a golden crown was placed which was made of painted Celastic. Gum drops glued to the crowns: served as jewels. The whole effect of the gown was to be one of lushness and elegance, a garment in excellent taste for a regal personage. Ppgpp. The pages were stereotyped characters, com- pletely two-dimensional. The director arbitrarily placed them on stage to create more royal atmosphere and to intro- duce the play. Their doublets of red and black striped flannel with gold trim were procured from stock. Black 46 tabards covered the doublets with a golden eagle painted on the front as the crest. The hats were constructed from fabric in stock that matched the doublets. Fairy Godmother. This woman of the ethereal ele- ments is one of extreme femininity, softness and kindli- ness. She appears older because of her maternal instincts, but she is also ageless. Her personality is one of warmth and quiet humor. In the costume, these physical and emotional as- pects of the Fairy Godmother were best expressed in soft lines and warm colors. Flowing lines were used to add a note of unreality to the character--to suggest winged- ness or a creature of the air. The underdress was constructed from yellow bro- caded taffeta. The particular shade of yellow was a neutral shade within the whole color scheme of the play and yet maintained a suggestion of warmth. The dress had tight-fitting sleeves, a bodice with a low neckline and a gored skirt gathered at the natural waistline. Over this garment a gown of white chiffon was constructed in the same fashion. It muted the yellow taffeta and added the filminess desired. Both skirts were sewn at the waistline I .n[ llll‘lgl I! llIlIII . ..[ III-III . III llll. I. 1.? i'inli.lt I 47 and hemmed separately, allowing a flowing movement. The chiffon bodice had an inset above the lower taffeta neck- line that was pleated into a taffeta neckband, with taffeta trim outlining the décolletage. The chiffon sleeves were fully pleated into the armseye and fell just below the el- bow. From the back of the neckline, a pleated chiffon cape flowed into a long train. Gold and silver spangles were scattered over the gown and cape, to create a spark- ling effect. The entire garment was to create an impres- sion of muted warmth, with the soft line suggesting a gown that a person with magical power and ethereal associ— ation might wear. A contrast to the muted tones were the taffeta sleeves, trim and neckband that stood out as a complement to the lighter yellow garment. The Fairy Godmother wore a golden crown upon a taffeta coif and carried a golden wand. Spangles of gold and silver were loosely sewn onto both so they would toss and shimmer with movement. Upon entrance, the fairy was to stand unique from all the other characters and she was to sparkle and glitter continuously. Beauvais. Beauvais is a middle class merchant. He has experienced a reverse in fortune, and throughout 48 the play has a very neat, but modest appearance. Beauvais is about forty-five years of age, with that older "paunch." He is a very patient and kindly father, a little too easy on his children. He has worked hard and wants his daugh- ters to be happy, each in her own way. He has a very realistic and simple philosophy towards life and its ful- fillment; he expects rewards in life in proportion to what he puts forth in effort. He knows his place in the world and remains humble. To intimate this earthy attitude, Beauvais was dressed in a dark green denim doublet. Green was used be- cause it suggested earthiness, and the denim was a plain fabric with a dull sheen. The silhouette of the garment created the effect of "roundness" due to the full, gath- ered sleeves and padding at the stomach. His bodice was loose-fitting and pleated with six knife pleats in front to give him style in line and more fullness. A collar of the same fabric added some width to the chest area, and a beige cotton inset and neckband suggested that a shirt was worn underneath the doublet. The skirt was three gores in width and pleated at the center back. It opened in front and fell below his knees, a suitable length for 49 an older man. Large covered buttons of green denim, a wide black corduroy belt and pouch added the finishing touches to the doublet. Beauvais wore a hat of the most common style--a gathered crown of denim, to match the doublet, sewn into a brim of black corduroy. The brim was split in the center and unadorned. The ensemble of line and color was to con- tribute to the physical and psychological traits of the merchant. Beauty. Beauty is the epitome of sweetness and light. She is very modest and sacrifices her own pleas- ure to help others. She lives with a dream in her heart and a song upon her lips. In order to capture these qualities of charm and naiveté, Beauty's first gown emphasized simplicity in style and softness in color. She was dressed in a warm pink and white cotton dress with characteristics of the Medieval period, a tight-fitting bodice with a high waistline and a skirt gathered into the waistband. The décolletage was low and the white undergown showed through in the form of an inset. Full, pleated sleeves set into the armseye covered her arms. Pink lacing 50 across the inset was a detail of the period and added a touch of the "peasant." She wore a modest white cap which covered her head, permitting a few bangs to show upon her forehead. The cap was slightly gathered at the nape of the neck. The cotton fabric flowed gracefully when the actress moved; and the overall effect was to give the impression of grace and femininity. In Act Two, the Queen supplied Beauty with a gown of more elegant nature. It was made of one of the royal colors, gold satin, with green brocaded satin for trim. The bodice reached the natural waistline where the skirt was pleated onto the bodice and fell to floor-length. The outer sleeves were pleated into the armseye and bil- lowed into a wide circle just above the wrist. Green brocaded satin was used for the inset and inner sleeves. These sleeves were tight-fitting to facilitate use of the fuller outer sleeves. In order to remain consistent in color, the wide waistband and lining of the outer sleeves were also constructed of the green satin. Brown fur around the neckline and cuffs was used, hoping to create a rich effect, thus complementing a garment of smooth lines and rich color. 51 Beauty's hair was covered with a gold satin coif upon which was perched a stiffened, oval—shaped piece of fabric. This headdress was greatly simplified from authen- tic patterns of the period. The headdress was so designed in order to show a contrast in taste from her sisters, thereby emphasizing the modesty of Beauty. Aurelie. Aurelie is a very selfish young lady of twenty years. Although she is of the middle class, she is extremely proud. Her greatest interest in life seems to be clothes and jewels, and she desires much more than she can have. She is critical of Beauty's simple tastes; but her criticism does not lessen the sisterly love she holds for Beauty. Naturally, her desire for Beauty to meet her prince has an underlying motive. If Beauty marries well, Aurelie will automatically benefit in material wealth. Aurelie's first costume was designed with simple lines to suggest a lack of style, but the trim was fussy, as if she had tried to make it more fashionable. She was dressed in a blue and white patterned cotton gown with yellow trim. The pastel shade followed the basic color scheme of the three sisters, and yet it was a cool color for one with a cool personality. The bodice was tight— fitting and the skirt was gathered at a natural waistline. 52 A band of yellow emphasized and slightly raised the waist. The neckline was rounded in front and back, and three rows of wide ruffles covered the upper part of the bodice. The sleeves were constructed in three parts. The two parts of the sleeves of blue percale were very wide and full, and they were gathered at the armseye, the elbow, and the wrist. An "outer sleeve" of yellow was sewn at the elbow division; this was a sleeve six inches wide. This wide band went into three long narrow points which were tacked at the armseye, permitting the upper blue sleeve to puff through the openings. This pattern was to suggest a simplification of a slashed sleeve. Aurelie's headdress was an exaggeration of a period pattern. It was made with a circle of fabric gathered into a band that stood straight up from the crown; this made Aurelie appear very tall and rather imposing. With the puffed sleeves and headdress, Aurelie was to look slightly overdressed and too fussy. This basic silhouette was to give Aurelie a round, frivolous appearance. When the Beast kept Beauty as a hostage, he sent a gift to Aurelie and Alphonsine, a magic trunk filled with clothes of the highest fashion. Aurelie's second 53 gown was still to suggest her frivolous nature; therefore, the general lines were similar to the first gown. The second gown was made in cool colors: light lavendar organ- dy over dark lavender percale. The bodice fit snugly to the waistline and the skirts billowed out from small pleats at the waist. The neckline was low, with rolls of the same fabric emphasizing the shoulders and bodice. The full sleeves were gathered into the armseye and the elbows, where half—sleeves of white cotton satin fit the arms smoothly to the wrists. This white fabric also decorated her waist and provided an inset at the neckline. Her head- dress was another one of exaggeration, but very fashionable. She wore a coif which covered her head, made of the two lavendar fabrics. Upon the coif, at the middle of the crown, a large, fan-shaped roll was sewn. It was filled with cotton batting to make it stand up without support and to give it the roundness in shape desired. In front of the roll, a stiffened piece of white cotton satin with a rectangular shape was sewn on the edge of the coif, framing the face. The colors were coordinated with the gown and this roll of the headdress corresponded with those around the neckline. A necklace of pearls 54 completed Aurelie's costume. Her personality was still to be expressed in the lines and color, but the ensemble was now elegant to fit her "rise" in social status. Alphonsine. Alphonsine is the older counterpart of the younger Aurelie. She is approximately twenty-five years old and very set in her selfish ways. She appears to love her family, but she is more self-oriented. She is very haughty and vain and detests being poor. She ex- presses her pride in material articles; she loves clothes and fine gowns. Alphonsine's first costume was cool in color, an off-shade of green being the basic color in a patterned cotton. The gown was definitely transitional in style, with a high waistline and long, Gothic outer sleeves. The skirt was pleated into the waistband, emphasized by a mustard-yellow percale band. The white inset at the neck was also highlighted by this same trim, adding a high neckband above the trim. The white inner sleeves of the garment were tight-fitting, adding a contrast to the fuller outer sleeves. The outer sleeves were trimmed with yellow and lined with white. They were pleated at 55 the armseye, and the front half of the sleeve ended at the elbow, with the back half falling to the wrist. Alphonsine's headdress was more of an original idea rather than a modification of any period mode. It was a coif that fit tightly around the face with a rec- tangular "box" fitting over the contour of the head and reaching about ten inches above the crown. It added a great deal of height to the character and complemented the severe, vertical silhouette attempted. Straight lines for the costume were designed to suggest haughtiness and severity, the major qualities of Alphonsine's personality. The vertical lines and cool colors were maintained in the second costume Alphonsine wore. The major portion of the gown consisted of an ice-blue brocaded satin, ad- hering to the natural waistline and falling to the floor from wide pleats at the waist. The décolletage was rounded with a purple taffeta inset sewn in. The inset had a high collar and opened at the throat. Short, fitted sleeves of the blue were sewn into the armseye and purple taffeta sleeves covered the arms. Upon her head Alphonsine wore a blue headdress in the shape of an 56 elongated drum. The color scheme complemented Aurelie's second costume and kept them both in basically cool colors. When the sisters were together in the first part of the play, they were in gowns with fairly simple lines and complementing pastel shades. In the latter part of the play, Aurelie and Alphonsine's garments were closely cor— related through color, allowing variations in style suit- able for each character. The costumer hoped that such a coordination of costumes for the two sisters would create a definite contrast to Beauty in her more modest apparel. Antoinette. Antoinette is a premeditating, sel- fish spinster at thirty. She is very immature for her age and gets extremely upset when she cannot have her way. She desires to be queen and will even resort to magic in order to achieve her goal. She is very ostentatious; she wants to be fashionable but does not really know how to dress. Antoinette's first garment was one of heavy, brightly striped cotton. The skirt was gathered at the waistline into a loosely fitted bodice. Since the cos- tume was worn over another to facilitate a fast change, it was made larger than necessary. The high-necked 57 bodice had a pleated inset of white sateen. The corres- ponding white sleeves were full and pleated at the arms- eye and the elbow, with a black band dividing them into two parts; and the fullness at the wrist was pleated into a fitted white cuff. Strips of black were sewn onto the bodice around the neckline and over the shoulders from the front waist to the back waist. A wider band of black was sewn around the hem of the skirt. The entire garment was just a little "too loud" for the muted overtones of the setting and general color scheme; but it revealed a cer- tain ostentation and taste opposite to that of the period and Beauty, her antagonist. The headdress was a huge, wide brimmed hat with the front brim wider and taller than the back, sewn to a fitted crown. Placed upon a white coif, it was to sug— gest an element of the ridiculous for a comic figure. Renard. Renard, the father of Antoinette, is a bumbling, silly man around fifty years of age. He is a little forgetful and seems to misinterpret others' be- havior and ulterior motives. He is also a little meek in the presence of Antoinette's fury and takes second 58 place when she is around. But he is a magician in his own right; this quality is more important than any others. In an attempt to give an impression of mystery and the unnatural, Renard was dressed in a long robe of black corduroy. The robe fell to the ground in wide unpressed pleats from a fitted yoke. The sleeves were lined with a peach-orange taffeta that complemented the reds in Antoin- ette's dress. The black corduroy was to suggest greater depth in color and to look like velvet when seen from a distance. The black of the robe was also to correlate with the black trim on Antoinette's dress. Renard wore a huge, cone-shaped headdress which veered to about fif- teen inches above the crown and became wider as it rose. The robe and headdress were decorated with stylized sil- ver appliqués. This garment was designed to permit free- dom of movement, to cover the ape costume worn under- neath, and to intimate the mystical powers of the magi- cian. It was hoped it would seem both luxurious and mysterious on stage, something a crafty magician might wear. Renard and Antoinette as Apes. These two char- acters appeared as "apes" for the major part of the play. 59 In order to keep the two characters alike, repetition in line and color were used and thus the patterns were very much alike. The ape costumes themselves were constructed from brown chenille bedspreads. The bodies were tight-fitting and the sleeves fit snugly from the armseye to the wrist. The legs were covered with close—fitting trousers to which a wired tail was attached. Over these outfits, the apes wore "costumes." They were very stylized and varied to suggest gender rather than personality. Both were doublets of black and white taffeta. A Harlequin effect was attempted, with contrasting blocks of color on top of one another. The bodices had low necklines with black lacings across the chests. Antoinette wore a cir- cular skirt and a dagged collar; Renard wore both a dagged skirt and collar. Both wore half-masks and caps resembling apes; but one was trimmed with yellow yarn to suggest a female, and the other had a more stylized head covered with dark brown crepe hair. They wore slippers on their feet, trimmed with either the yarn or crepe hair to match their heads; and their hands were covered with brown knit gloves. 60 The costumes followed the general line and color of real apes so the audience would easily recognize them. Yet, they were stylized enough to afford simplicity of design in clothing and masks. The choice of colors seemed to force the animal costumes to remain fairly neutral to the setting and background; and in their neutrality, provided a defi- nite contrast to the overall color scheme. These designs were an attempt to create an effect which would emphasize focus, absurdity and comic overtones for two capricious ll apes . ll Conclusion The preceding descriptions have been an attempt to enlighten the reader's visual perception of the costume designs that appear on the following pages. Some con- struction techniques have been noted—-specific details may be found in the next chapter. In general, the costumes follow the very simplest lines of the Italian Renaissance period. The emphasis has been placed in two major areas in order to add variety and balance to the overall scheme of design--color and fabric, and insets and sleeves. Color and fabric were carefully selected to suggest 61 personality and material strength; and the insets of the bodices and variations of sleeves were used with a desire to develop variety in composition. One of the greatest visual images was the use of headdresses. Each one was designed to reveal a type of personality through its shape and adherence to the general silhouette. The costumer hoped that the general patterns of design would contri- bute to and project the initial purposes in producing the play. TABLE 1 COSTUME CHART 62 Character Act, Scene Costume Description Pages Prince Armand Queen Fairy Godmother Beauvais I, II--1,2 II--1,2 I. I. 1. II--1,2 II--1,2 II--1,2 ballet slippers, black tights, red and black striped flannel doublets, black tab- ards, red and black hats black romeo slippers, black tights, blue satin doublet, gold corduroy robe, ring same as I; fasten robe. Add: beast mask, hands, ring black flats, black tights, petticoat, wine brocaded satin gown, coif, golden crown white flats, petti- coat, yellow taffeta and white chiffon gown, matching coif, golden headdress, golden wand black romeo slippers, black tights, green and beige denim doub— let, green and black hat, black belt and pouch, padding 63 Character Act, Scene Costume Description Beauty Aurelie Alphonsine Antoinette I, II--1 II--2 I, II--1 II--2 I, II--1 II--2 black flats, black tights, petticoat, pink and white cotton dress, pink and white cap same undergarments, gold satin gown, gold headdress black flats, black tights, petticoat, blue and white cotton dress, blue headdress I same undergarments, lavender and purple gown, lavender and white headdress, pearl necklace black flats, black tights, petticoat, green patterned cotton dress, green headdress same undergarments, blue brocaded satin gown, blue brocade headdress black flats, black tights, striped cotton dress, striped head- dress 64 Character Act, Scene Costume Description Renard I,b ‘0 I,b ‘0 II--1,2 II--1,2 yellow yarn trimmed slippers, black tights, brown chenille pants and bodice, black and white taffeta doublet, brown gloves, mask ballet slippers, black socks, black corduroy robe, black headdress crepe hair trimmed slippers, black socks, brown chenille pants and bodice, black and white doublet, brown gloves, mask (part of this costume is worn under the robe to facilitate a fast change) COSTUME SKETCHES 65 Figural PM nee. A rm and 66. I- 1' .I II .I I‘ ‘ ‘1‘ III. 'I .[l' lust It I[1 {[i Irs‘f'lul' l.{[u|.l!lflll f.I[. .‘In 1 'I I ‘ iv‘ ' Jul! I (I. 67.. J '9‘ é?“ H Iver- Goo/mot 4 72.1.9 Esau-e é?’ MI figure; Beam/ms 70' 7/' 73' .411- Figure 8 I... Aura/1e I 73' a“ *3 35(9qu Aura/[elf ' 7% figure. /0 A/phonsme I 75' 77‘ _6 IL Irv ..e .m 0 .f .,m A rigor-e /X ,I 77 \ I \‘\ Flju. r e. /4/’ Fengha’ahd Anfomeffe-"Apes CHAPTER V ORGANIZATION AND EXECUTION OF COSTUMES, MASKS, AND MAKE-UP Costumes The execution of this project was under the direct supervision of Mr. Jack A. Byers, costumer of the University Theatre at Michigan State University. A great deal of dis- cussion and pre-planning was done with him prior to the initial construction process. After the approval of the designs for Beauty and the Beast, the production schedule was established. Construction of the costumes was car- ried out by the students in the beginning course of Stage Costuming. Immediately following casting, the actors were measured. Only those measurements that were necessary for construction were taken (See Table III). After the meas- urements were taken, the costumer selected the fabric, trim and notions that would be appropriate for the objec- tives previously established--coordination in color and choice of fabric that would best ehhance the various personalities in the play. This selection of materials 80 81 involved several trips to the fabric centers available in the area, conference with the director concerning some choices and procurement of the selected items. The three weeks re- maining prior to production were spent in the following manner. First, basic patterns were selected and specific details for cutting the costumes were plotted. Second, all of these basic pieces were basted and the actors were called in for preliminary fittings. At this time, the spec— ial details such as sleeve fittings, armseye corrections and special neckline effects were chalked or cut out from the basic garment. Third, the costumes were constructed, fitting all details together. The final phases of construction called for another meeting with the actors. At this fitting, the length of sleeves was determined, zippers were fitted and hemlines were determined. If the headdresses were completed, they also were fitted. Then, the costumes, including trim and accessories, were completed and assembled for production. During this ”finishing" period the three required masks were built; the crowns for the Queen and the Fairy God- mother were constructed, and the magic wand and appli— qués were designed, built and painted. 82 The assembly process used was relatively simple. First, all costumes were carefully pressed. Then, the cos- tume for each change was hung with all of its accessories on a hanger and marked with tags, noting the character's name and at what place in the play he wore the garment. Head- dresses and shoes were fastened together with a Clothespin and marked in the same fashion. The costumes were then taken to the assigned dressing room ready for the dress parade. A dress parade provided the opportunity for the costumer to show the actors how to wear their clothing, how to walk gracefully, and how to hold up skirts if nec- essary in movement. It also gave her a chance to check all details and note any corrections that had to be made. The actor became familiar with his apparel on stage, and this alleviated any anxieties concerning his costume during technical rehearsals. During the dress and technical rehearsals, the costumes were observed for the first time under lights and within the composition of the setting. Discussions with the set designer prior to construction tended to limit the possibility for mistakes in color combination. Two dress 83 rehearsals seemed to help the actors a great deal in becoming used to the costumes and utilizing them to the best advan— tages according to individual character traits. At the time of the opening performance, the actors were at ease in their costumes and make-up. Immediately following the final performance, all of the crew members and the costumer executed "strike." The costumes were returned to the costume laboratory where all nonwashable and noncleanable trim and accessories were re- moved. Those washable items were prepared for the laundry; all items to be dry cleaned were hung on the racks together; and all headdresses were spot cleaned. Except for storing the garments upon their return from the cleaning, the cos- tume project for Beauty and the Beast was completed. The following tables and figures explain graphi- cally the production schedule followed, a complete list of costume expenditures, all items supplied from materials in stock and specific construction details for particular costumes. 84 TABLE 2 PRODUCTION SCHEDULE, JANUARY 7--FEBRUARY 5 Date Activity January January January January January January January January January January 7--12 12--15 23 24 25 26 27--30 31 31 preliminary sketches, meas- urements, purchasing of material, cutting out patterns first fitting for all cos- tumes being constructed Renard--second fitting, first sitting for mask Beauvais-—second fitting Aurelie-—second fitting Armand--second fitting, first sitting for mask Page I—-fitting Beauty—-second fitting Alphonsine-second fitting Fairy Godmother--second fitting Antoinette--second fitting, sitting for mask Page II——fitting complete all costumes, trim, hats, masks, acces- sories assemble each ensemble according to character and scene dress parade, costume plates 85 PRODUCTION SCHEDULE, JANUARY 7--FEBRUARY 5 Date Activity February 1 February 2--3(morning) February 3 February 4 February 5 dress rehearsal dress rehearsal with make-up two performances two performances strike dry cleaners, laundry 86 t . L‘u‘nx' th‘alz. Y’Uu‘iv", .ku' . I... I! IJ V. .0 . _ . «i . I III {I . I ’I‘ I m {MMTITI I I etc-.83.!!! ‘I .II I 4 II. V II I L I .\ I I 1 w ... lfi v I II Ia” I I 4. .I.L.¢III.~W. II If A... 4. Aw I IL I. 0... (II; I IL I A . i .. , I I . \i .0, 3 . v. . Im I110! 4| II. .AC - . . $1. ./ I .4 .gvcl (IIIIIICIIIII I III. I- A . a A ILPII It..wY.-§. . g .II 7. L I. 1 . 417. . . I. {IIIOII4I4I'tlaI-llll I L T f L I I I 1 4 an xggl ' u (4.3,IIIIIII1fiIIIII I c6173 I E 5;} .wvas ME. .33 _ H . ea. m ., T . rages fiw D. ,a....\_.if1.,....wixfuwmwflflbflwwd-MNEQSU N52, 1. . I Inwb.;wx-..xi-I . I I t 2:. Eu... w m ma. 4.? m: GEES R? M. K II. .. :I --- 2.4.5 Ram: 332%: m; Nomi. Budget 87 The original allocation for costumes was $350 which was not spent in its entirety. The breakdown of expenditures: Fabric Notions, Sewing articles and Accessories Masks Dry Cleaning Total following is a general $232. 23. 32. $290. 44 72 .57 50 23 TABLE 4 LIST OF EXPENDITURES 88 Character Quantity Item and Price Amount Total Prince Armand 10-1/2 yds gold corduroy at 98¢ yd, $10.29 10-1/2 yds blue brocade taffeta at 98¢ yd, 10.29 5 yds blue satin at 59¢ yd, 2.95 $23.44 Queen 10-1/2 yds wine brocade satin at $2.98 yd, 31.29 31.29 Fairy Godmother 10 yds yellow brocade. taffeta at 79¢ yd, 7.90 14 yds white chiffon at 98¢ yd, 13.72 21.62 Beauvais 7 yds dark green denim at 59¢ yd, 4.13 4.13 Beauty I 8 yds rose percale at 49¢ yd, 3.92 2 yds white percale at $1.29 yd, 2.58 6.50 Beauty II ll-l/2 yds gold satin at $1.39 yd, 16.49 green brocade satin at $1.98 yd, 4.94 21.43 89 Character Quantity Item and Price Amount Total Aurelie I 11 yds blue printed per- cale at 98¢ yd, $10.78 3-1/2 yds yellow percale at 49¢ yd, 1.72 $12.50 Aurelie II 10 yds purple percale at 59¢ yd, 5.90 10 yds lavender organdy at 98¢ yd, 9.80 15.70 Alphonsine I 10 yds green printed per- cale at $1.69 yd, 16.90 1—1/2 yds white percale at 39¢ yd, .59 17.46 Alphonsine II 10 yds blue brocade satin at $1.98 yd, 19.80 2 yds purple taffeta at 69¢ yd, 1.38 21.18 Antoinette 10 yds striped percale at $1.69 yd, 14.90 4 yds white cotton sa— teen at $1.19 yd, 4.76 19.66 Renard 10-7/8 yds black corduroy at $1.98 yd, 21.53 2 yds orange taffeta at 69¢ yd, 1.38 22.91 Antoinette as Ape 3-1/2 yds black taffeta at 69¢ yd, 2.42 3-1/2 yds white taffeta at 69¢ yd, 2.42 4.84 9O Character Quantity Item and Price Amount Total Renard as Ape 3—1/2 yds black taffeta at 69¢ yd, 2.42 3—1/2 yds white taffeta at 69¢ yd, 2.42 bedspread at $4.98 4.98 $ 9.82 Notions: 2 yds buckram at $1.69 yd, 3.38 3 yds crinoline at $1.19 yd, 3.57 6 pkgs spangles at 50¢ 3.77 13 zippers at 50¢ 6.65 9 yds cording at 3/5¢ .15 1 pkg yellow yarn at 69¢ .69 1 pkg buttons at 59¢ .59 4 pkgs needles at 15¢ .60 8 spools thread at 39¢ 3.12 8 pkgs black and white bias tape at 15¢ 1.20 23.72 Masks: 2 Apes, l Beast 2 pkgs paper tape at 59¢ 1.18 1 pkg cheesecloth gauze at 39¢ .39 1.57 Dry Cleaning 16 costumes 32.50 32.50 Total Cost of Costumes $290.23 91 TABLE 5 ITEMS FROM STOCK Character Item Prince Armand Queen Pages Beauvais Beauty II Aurelie II Alphonsine I Antoinette Antoinette as Ape Miscellaneous: gold trim for doublet black fur trim for robe coronation robe gold satin for insets and sleeves red and black flannel doub- lets, black tabards, fabric and trim for hats black corduroy for belt, pouch, and hat, beige cotton for inset brown fur trim for gown coronation robe white cotton—satin for inset, waistband and sleeves muslin for petticoat black cotton trim bedspread for ape costume muslin for all linings buckram for headdresses rope for beast head and hands crepe hair for Renard's mask and slippers Celastic for crowns wire for hat frames felt appliqués 92 Character Item jewelry and jewel trim some ribbon and braid all painting supplies for masks, crowns, appliqués prs of romeo slippers prs black tights muslin petticoats prs gloves MOWN 93 Pattern Details In order to construct the costumes properly, many special patterns had to be designed. The initial cutting of the costumes began by using basic bodice, skirt, and trouser patterns. Each one had to be adapted to fit a particular actor's measurements and modified in order to construct unique details. The robes of the men, the sleeves and neck- lines of the women varied to some extent. On the following pages, specific details for every costume have been drafted according to each character. There are a few items to keep in mind: 1. The first patterns shown are basic items that have been used for more than one costume. For example, the same skirt pattern was used for all the women's skirts. 2. Standard measurements have been used for all patterns so they may easily be adapted to any actor's speci- fic measurements. 3. The scale used in drafting is 1/8" equals 1". 4. Unless specifically marked on the pattern, one should allow a one inch (1“) seam allowance on all patterns. 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I\ .t o 5.. r d. 4 _ A ‘a.. . .0 . ...5...., 5‘5“ 5|. ”4%:ng M‘Nré}. 154.. . y . . \ .r . ., . 4.. o .. u . . ’ 8 I. .I . . \ . . 1"...5 ‘Liu. 5‘” . ... u .,5 AQJ! ..Ce,, SQ. I 1 .... . ..d . . ). _O‘. o , 1h.MNV§flW.W-¥W.. 5 .‘ . ... $5.¢55 PLATE X AUHELIE II PLATE XI ALPHONSINE I PLATE XII ALPHONSINE II E T m]. E n O W I A I I I X E m1 m PLATE XIV RENARD PLATE XV TONI AND RENI BI BLI OGRAPHY Arnheim, Rudolf. Art and Visual Perception. Los Angeles: University of California Press, 1954. Baranski, Matthew. Mask Making. Worcester: The Davis Press, 1954. Barton, Lucy. Historic Costume for the Stage. Boston: Walter H. Baker Company, 1935. Burckhardt, Jacob. The Civilization of the Renaissance. London: Phaidon Press, LTD, 1945. Dalgliesh, Alice. The Enchanted Book. New York: Charles Scribner's Sons, 1947. Davenport, Millia. The Book of Costume. Vol. I. New York: Crown Publishers, 1948. Davis, Jed H., and Watkins, Mary Jane Larson. Children's Theatre. New York: Harper & Brothers, Pub- lishers, 1960. Fisher, Caroline E., and Robertson, Hazel Glaister. Children and the Theatre. Stanford: Stanford University Press, 1940. Gale, Ann VanNice. Children's Preferences for Colors, Color Combinations, and Color Arrangements. Chicago: University of Chicago Press, 1933. Gassner, John. Producing the Play. New York: The Dryden Press, 1941. Gorsline, Douglas. What People Wore._ New York: The Viking Press, 1952. Hansen, Henny Harold. Costumes and Styles. New York: E. P. Dutton & Co., Inc., 1956. 146 147 Hartley, D., and Elliot, M. Life and Work of the People of England. New York: W. W. Norton & Company, Inc., 1929. Haviland, Virginia. Favorite Fairy Tales Told in France. Boston: Little, Brown and Company, 1959. Heuvelmans, Bernard. On the Track of Unknown Animals. New York: Hill and Wang, 1959. Horton, Louise C. (ed.). Handbook for Children's Theatre Directors. National Thespian Society, 1949. Kelly, Francis M., and Schwabe, Randolph. Historic Costume. New York: Charles Scribner's Sons, 1925. Lang, Andrew (ed.). Blue Fairy Book. New York: Longmans, Green and Co., 1948. Laver, James. Costume of the western WOrld: Early Tudor, 1485-1558. London: George G. Harrap and Company, L.T.D., 1955. Male, Emile. Religious Art in France, XIII Century: A Study in Medieval Iconography and Its Sources of Inspiration. trans. Dora Nussy. London: J. M. Dent & Sons, Ltd., 1913. Norris, Herbert. Costume and Fashion, The Tudors, Book I: 1485-1547. 3 vols. New York: E. P. Dutton & Co., Inc., 1938. Parsons, Frank Alvah. The Psychology of Dress. New Yerk: Doubleday, Page & Company, 1923. Planché, James R. A Cyclopedia of Costume. 2 vols. London: Chatto and Wenders, 1876-1879. Racinet, Albert C. A. Le Costume Historigue. 6 vols. Paris: Firmin-Didot et Cie, 1888. 148 Stearns, Raymond Phineas. Pageant of Europe. New York: Harcourt, Brace and Company, 1947. Vecelleo, Cesare. Costumes Ancien et Moderne. 2 vols. Paris: 1859. Ward, Winifred. Theatre for Children. Anchorage: The Children's Theatre Press, 1950. Wilcox, R. T. The Mode in Costume. New York: Charles Scribner's Sons, 1942. Yarwood, Doreen. English Costume from the Second Century B. C. to 1952. London: Batsford, 1955. .. s r370» ,_ "\ 1" '.\. v A“ '1- ' ”71111117171111 11111 11137111111111 ma“