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Care's an enemy to life : Shakespeare goes to Mardi Gras. An analysis of costume design for Twelfth Night… Page, Shelby 2015

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CARE’S AN ENEMY TO LIFE: SHAKESPEARE GOES TO MARDI GRAS AN ANALYSIS OF COSTUME DESIGN FOR TWELFTH NIGHT SET IN A MODERN-DAY LAND OF VOODOO AND REVELRY by  Shelby Page  B.A., Weber State University, 2013  A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF  MASTER OF FINE ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Theatre)  THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver)  April 2015  © Shelby Page, 2015 ii  Abstract  This paper documents and describes the design process and final costume design for the University of British Columbia (UBC) 2014 production of William Shakespeare’s Twelfth Night. The production was the first show in the 2014-2015 season. It ran from September 26th to October 11th, 2014.  The director was Stephen Heatley and the stage manager was Kiara Lawson. The creative team included Rebecca Burks (Set), Andrew Pye (Lighting), and Lauren Stewart (Sound Design). The costume advisor for the production was Jacqueline Firkins. iii  Preface  As the student costume designer for our production of Twelfth Night I had a creative leadership role as part of the larger costume team. The renderings and research collages found in Chapter 2 are my own work, as are the character plot and the pieces included in the appendix. The costumes pictured were either purchased or were constructed and/or altered by myself or head of wardrobe Jodi Jacyk, assisted by the Theatre 299/399 production students. My advisor for this production and for all costume work I have done at UBC was Jacqueline Firkins. Production photographs are courtesy of Tim Matheson. The shots show the final costume designs worn by the cast from the BFA acting program, against the set design of Rebecca Burks and the lighting design of Andrew Pye.            iv  Table of Contents  Abstract .......................................................................................................................................... ii Preface ........................................................................................................................................... iii Table of Contents ......................................................................................................................... iv List of Figures ............................................................................................................................... vi Acknowledgements ..................................................................................................................... vii Chapter 1: Introduction ............................................................................................................... 1 1.1 Synopsis ...................................................................................................................... 1 1.2 Production Concepts ................................................................................................... 2 1.3 Costume Design Concepts .......................................................................................... 4 Chapter 2: Design Analysis ........................................................................................................ 6 2.1 Ghazal Azarbad- Maria ............................................................................................... 6 2.2 Nathan Cottel- Orsino ................................................................................................. 7 2.3 Thomas Elms- Sir Andrew.......................................................................................... 8 2.4 Catherine Fergusson- Antonia .................................................................................. 10 2.5 Helena Fisher-Welsh- Valentina, Olivia’s Attendant, Officer .................................. 11 2.6 Matt Kennedy- Sea Captain, Officer, Priest ............................................................. 12 2.7 Allyce Kranabetter- Malvolia ................................................................................... 13 2.8 Jenna Mairs-Viola ..................................................................................................... 15 2.9 Demi Pedersen- Festa ............................................................................................... 17 2.10 Javier Sotres- Sir Toby.............................................................................................. 19 2.11 Cassandra Szabo- Fabienne ...................................................................................... 20 v  2.12 Zach Wolfman- Sebastian ......................................................................................... 21 2.13 Charlotte Wright- Olivia ........................................................................................... 22 Chapter 3: Design Process ........................................................................................................ 24 Chapter 4: Conclusion............................................................................................................... 26 Bibliography .................................................................................................................................27 Appendices ....................................................................................................................................28    vi  List of Figures Figure 1: Revellers in the opening scene ........................................................................................ 4 Figure 2: Set and lights ................................................................................................................... 5 Figure 3: Maria- research and show photos .................................................................................... 6 Figure 4: Orsino-rendering and show photo ................................................................................... 8 Figure 5: Sir Andrew- rendering and show photo .......................................................................... 9 Figure 6: Antonia- research and show photo ................................................................................ 10 Figure 7: Helena- research, show photos of Valentina and officer ............................................... 11 Figure 8: Matt- research and show photos of the sea captain, officer, and priest ......................... 13 Figure 9: Malvolia- research and show photo of her first costume .............................................. 14 Figure 10: Malvolia- rendering and show photos of her second costume clean and dirty ........... 15 Figure 11: Viola- rendering and show photo of her first costume ................................................ 16 Figure 12: Viola- rendering and show photo of her costume as Cesario ...................................... 17 Figure 13: Festa- rendering and show photos ............................................................................... 18 Figure 14: Sir Toby- rendering and show photo ........................................................................... 19 Figure 15: Fabienne- research and show photo ............................................................................ 20 Figure 16: Sebastian- research and show photo ............................................................................ 21 Figure 17: Olivia- show photo of her first costume ...................................................................... 22 Figure 18: Olivia- rendering and show photo of her second costume .......................................... 23 Figure 19: Renderings of costumes that were cut from the show early in production ................. 24    vii  Acknowledgements  I am deeply grateful to my advisor Jacqueline Firkins, MFA Design and Production Graduate Advisor Robert Gardiner, and all the faculty and staff of UBC Theatre. Special thanks to head of wardrobe Jodi Jacyk and the Theatre 299/399 students for making my visions a reality.   I am forever indebted to my parents, Kim and Cindy Page, who have given me their unwavering support through all the years I’ve chased this dream. 1  Chapter 1: Introduction  Twelfth Night is one of Shakespeare’s most popular comedies. It has been staged regularly from the Restoration period to the twenty-first century and has inspired countless adaptations in film, radio, and stage. It touches on timeless themes such as the need to balance revelry and mourning and the importance of familial bonds. Director and UBC professor Stephen Heatley chose to set our production in twenty-first century New Orleans because these themes are prevalent in New Orleans culture and art. The contrast between the disposable debauchery of Mardi Gras and the overt symbolism of death in Voodoo and Catholic traditions in the region create an ideal setting for this story. 1.1 Synopsis Twelfth Night contains several overlapping plots. At the opening of the play Duke Orsino is pining over Countess Olivia, who rejects his advances because she is in mourning for her brother and father. Though Olivia is in mourning, the rest of her household is about their business as usual. Olivia’s drunken uncle Toby, Toby’s foolish but wealthy young friend Sir Andrew, and mischievous but loyal servant Maria are all carousing. They are chided by Olivia’s stern steward, Malvolio, who dreams of advancing socially by marrying Olivia.  While Olivia and Orsino clash, Viola, a young foreign noblewoman, washes up on Illyria’s shores due to a shipwreck that she assumes has taken her twin Sebastian’s life. In order to find safety and to survive as a woman alone she dresses as a boy and finds work in Orsino’s court using the name Cesario. In this disguise Viola becomes Orsino’s messenger to Olivia. At 2  Olivia’s, Viola passionately describes the love she herself feels for Orsino. These descriptions of pure and genuine passion cause Olivia to fall in love with Viola. Within Olivia’s household Malvolio repeatedly chastises Sir Toby, Sir Andrew, Maria, servant Fabien, and Feste. To get revenge they play a prank that will make him look foolish and discredit him in front of Olivia. They plant a letter that instructs Malvolio to dress garishly and be rude to servants. When Malvolio follows directives in the letter Olivia thinks he is mad, much to the amusement of the pranksters. Malvolio is then imprisoned and tormented for his behaviour. Sebastian and his friend Antonio arrive in Illyria, not shipwrecked after all. Sebastian is mistaken for Cesario and Viola is mistaken for Sebastian. The mix-up results in Sebastian marrying Olivia and in Orsino firing Viola, believing that she has stolen the woman he loves. When both twins are in the same place at the same time Orsino realizes that he can love Viola just as deeply as she loves him. Malvolio appears and curses Olivia before the true guilty parties are revealed. A sense of balance is restored as the extremists of both revelry and sobriety are punished and the loving couples get their own happy endings. 1.2 Production Concepts From our first meeting Professor Heatley prioritized modernizing the play to make it more relatable to a contemporary audience. He suggested the Mardi Gras setting for several reasons. He believed Illyria should be a dangerous place, forcing Viola to disguise herself rather than face the strange city alone. New Orleans is located near the sea and is a place that occasionally experiences severe storms, allowing for the shipwreck. The culture of New Orleans offers prevalent contrasts between old and new, Catholicism and debauchery, life and death. The rich history found in above-ground cemeteries and voodoo rituals contrasts with Mardi Gras parades 3  and parties. This supported our central overarching concept: the struggle between revelry and mourning in which neither can exist without the other.   Our production design was non-literal. We limited set and costume changes to allow the action of the play to flow smoothly from scene to scene without interruption. Despite the action occurring in several locations, the set remained relatively static. The only costume changes paralleled a significant event or change of character, such as Malvolio’s change after reading the letter. In this way, we used the design to emphasize the more thematic qualities of the production. Per tradition at UBC Theatre, the production was cast from the graduating class of the UBC BFA acting program, which had five men and eight women. It was therefore necessary to swap the genders of several characters. In our production Malvolio, Feste, Antonio, Fabien, Valentine, and one Officer were female (Malvolia, Festa, Antonia, Valentina, and Fabienne, respectively). Professor Heatley used this casting to modernize the play without changing the nature of the characters. Swapping the genders of these characters allowed for more women to be present in our world in stations that are now common for women to hold but that would not have been possible in Shakespeare’s time. I will explain the nature of these changes in greater detail in my individual character analyses.  The production opened on a party scene which established the time, place, and festive tone of the show. Every available actor was onstage, either as a scripted character or as background to expand the sense of revelry. All characters in this scene wore Mardi Gras-style masks and beads.  I dressed everyone in bright, boldly printed costumes to help set the festive and overwhelmingly decorative atmosphere. We swiftly established that Illyria is normally a place of non-stop 4  festivity. The ensuing scenes present the audience with images of mourning and death, and the party soon becomes ironic.  Figure 1: Revellers in the opening scene 1.3 Costume Design Concepts My design process focused on finding modern archetypes for each character that would be true to the original intentions for the script, but would also work within a contemporary setting. I 5  referenced film, television, pop culture, and history to find faithful equivalents of the drunken uncle, the youth with more money than sense, the stuffy servant, et cetera.  I initially divided the characters into those in Olivia’s household and those in Orsino’s household. After more thorough readings it became clear that the greater divide lay between Illyrians and non-Illyrians, not the two households. The entire design fell within a cool colour palette with yellow and metallic accents characteristic of Mardi Gras. I used black and white as neutrals, avoiding browns and other earth tones. This created contrast between the modern and plastic characters and the brownish and old-fashioned architecture of the set. My palette was inspired by scenes of Mardi Gras parades against French Quarter buildings. My Illyrians wore saturated colours, rhinestones, silks and shiny synthetics, sharp lines, and bold silhouettes. The non-Illyrians, such as Sebastian and Antonia, wore natural fabrics like wool and denim, muted colours, and softer lines. My Illyrians were a spectacle, while my non-Illyrians were not.   Figure 2: Set and lights 6  Chapter 2: Design Analysis I will discuss the research and design process for each character from rendering to staging alphabetically by the actors’ last names, including all roles played by each actor. I will include renderings and/or research images, and photographs for each costume. 2.1 Ghazal Azarbad- Maria Maria is a servant in Olivia’s house, and Sir Toby’s companion in mischief. I chose to modernize her as a housekeeper/maid.  Figure 3: Maria- research and show photos Maria represents the average Illyrian—doing what she must to get by, but cutting loose every chance she gets. She comfortably walks the line between serving the mourning Olivia and partying with Sir Toby. Her character is genuine, unlike Sir Andrew or Sir Toby, who are using 7  each other for personal gain. Maria is fiercely loyal to Olivia despite the stifling environment Malvolia creates. To make this duality apparent to the audience I gave Maria a transforming costume. I dressed her in a modern maid’s dress and apron with simple black and white shoes.  The dress evoked the classic image of a housemaid. Underneath the conservative exterior, Maria wore a sequined full slip. The centre-front zipper on her uniform allowed her to reveal or conceal the sequins at will. The transformation was also facilitated by clipping her hair back tightly, or releasing it into a jubilant frizz.  2.2 Nathan Cottel- Orsino Orsino is the bold and boisterous duke of Illyria. Formerly a great lover of Illyria’s revels, he now pines at home sending words of love to Olivia by way of servants. Orsino seems to love the sound of his own voice more than he actually loves Olivia, and through Viola he learns that true love is not measured by how loudly one suffers for it.  In the text Orsino seems to be a classic peacock; the biggest, boldest, richest, and most eligible man in town. For inspiration I looked at current young rock stars, high-fashion male models, and southern sorority men. I made him flashy and edgy, dressed-up, and a bit tacky. I dressed him in a plum velvet jacket with embroidery and rhinestones, a bright blue shirt, slim dress pants, and shiny black dress shoes. In the opening scene he wore a large bird mask with peacock feathers, the largest mask on stage. I chose not to give him a change of costume because, unlike Olivia, he does not have a major change of character that would justify a costume change in our non-literal world.  8   Figure 4: Orsino-rendering and show photo  2.3 Thomas Elms- Sir Andrew Sir Andrew is a young man with more money than sense who has been lured to Illyria to vie for Olivia’s love. He provides comic relief and is blissfully unaware that he is constantly the target of ridicule. Sir Toby lives and parties comfortably on Sir Andrew’s money while Sir Andrew woos without success.  Modernizing Sir Andrew provided one of my more exciting design opportunities. I researched young male celebrities like Justin Bieber and Jayden Smith, who have adopted the bad attitude and tough aesthetic of high-fashion hip-hop, but lack the physicality to wear it convincingly. The style mixes edgy silhouettes, bright colours and patterns, and shiny metallics. These design 9  elements made my Sir Andrew look garish even among the other wild Illyrians. He wore blue graphic muscle shirts (changing after falling in the fountain), a colourful flat-brim cap, gold fingerless gloves, purple velvet snakeskin-print harem pants, bright athletic shoes, and lots of beads. The baggy cut of the costume further emphasized Thomas’s tall, slender frame.    Figure 5: Sir Andrew- rendering and show photo 10  2.4 Catherine Fergusson- Antonia Antonia pulls Sebastian from the sea and nurses him back to health. She has a dubious seafaring past that bars her from safely entering Illyria, but she goes because of her love for Sebastian.  Working with Professor Heatley and actress Fergusson we developed a character and a history for our modern, petite female Antonia. We decided that in the past she was a radical environmentalist who attacked whaling ships and oilrigs. She has tried to put her illegal activity behind her, but her old skills and reputation come back when Sebastian is attacked in Illyria.  Figure 6: Antonia- research and show photo Since Antonia is not an Illyrian I dressed her in a soft blouse and skirt, and in navy and tiny polka dots. She carried a bag and wore buttons that declared her environmentalist beliefs. 11  Together her ensemble painted the picture of innocence, which contrasted with the elaborate fighting stunts she performed. 2.5 Helena Fisher-Welsh- Valentina, Olivia’s Attendant, Officer In our production Valentine and Curio were combined into Orsino’s assistant-Valentina.  She is a savvy young professional who loves her job and is threatened by Cesario’s ability to break into Orsino’s inner circle. She moves swiftly from parties to work, so I paired a trendy neon top and chunky golden necklace with a grey jacket and black slacks to reflect recent trends in young office wear.   Figure 7: Helena- research, show photos of Valentina and officer The script gives little information about Olivia’s attendant so we were free to make our own choices about her role in the household. We made her a housekeeper to give her a clear role 12  within the household. To separate the attendant from Maria I chose to dress the attendant in real custodial attire. Helena had a very quick change between Valentina and the attendant so I overdressed the attendant costume on top of the Valentina costume. Over her Valentina suit, Helena added a bulky work shirt, boxy apron, teal bandana, and yellow rubber gloves. The attendant remained onstage for an extended period of time mopping up the water splashed after Sir Andrew’s fountain stunt.  I dressed the officers as security guards rather than official police. This choice emphasized Illyria’s state of constant festivity, as if the city functions as one big night club. The officers wore black slacks and shoes, black “SECURITY” shirts, pulled-back hair, and aviator glasses.  2.6 Matt Kennedy- Sea Captain, Officer, Priest For the sea captain I rejected sailor or pirate archetypes and instead focused on seafaring characters from the Gulf or Mexico. I looked at images of Jimmy Buffet and commercial fishermen. The sea captain wore a dirty singlet, cut-off jeans, sandals, a Hawaiian shirt, and messy hair. Because he is not an Illyrian his colours were greyed out, even in the print of the shirt. Matt’s officer was dressed as a security officer like Helena’s officer. He slicked his hair back for this character and wore a tissue in his nose after his fight with Antonia. 13   Figure 8: Matt- research and show photos of the sea captain, officer, and priest Matt had to change very quickly into the priest from his security guard costume. The priest wore a black clerical jacket and collar with black pants, shoes, and round wireframe glasses. Because characters were seen within the same scene and both were in black I had to make them very distinct. The priest wore high collar and round glasses with centre-parted hair. The conservative hairstyle and old-fashioned glasses aged him in contrast with his youthful security guard’s V-neck t-shirt, aviator glasses, and slicked-back hair. 2.7 Allyce Kranabetter- Malvolia Malvolia is Olivia’s steward. She manages Olivia’s property and affairs. Malvolia is extremely uptight, self-centred, and class-obsessed. As the steward she is in charge of staff like Maria but she is subservient to Sir Toby. She dreams of climbing the social ladder by marrying Olivia and she is easily tricked into thinking Olivia loves her.  14   Figure 9: Malvolia- research and show photo of her first costume In the beginning of the production she wears a navy jacket, a white dress shirt, charcoal slacks, and chunky shoes. The actress has quite sweet features that I needed to de-emphasize to exemplify Malvolia’s harsh character. She I pulled her hair into a tight bun, thickened her eyebrows, and added a mole. She wore the colours and textures of an Illyrian but her stark lack of embellishment made her distinct from other professionals like Valentina.  Malvolia changes her clothing based on some instructions she believes come from Olivia. She is instructed to wear yellow stockings cross-gartered and to smile constantly. For our production Malvolia dressed in lingerie because she believed that Olivia wanted an extremely womanly woman rather than Cesario’s delicate and boyish features.  15   She wore a yellow girdle-style slip with yellow stockings and garters, yellow and fuchsia feathered heels, and a yellow robe that could be removed. She also added a purple streak to her hair, long acrylic fingernails, and purple lipstick. I chose yellow and fuchsia/purple because they are the least harmonious colours in my Mardi Gras palette. I kept her original bun, eyebrow, and mole makeup to show the dichotomy between who Malvolia is inside and what she’s wearing for someone else’s pleasure. Professor Heatley wanted Malvolia to look extremely ragged and mistreated after her imprisonment so I made broken-down doubles of the robe and stockings.  Figure 10: Malvolia- rendering and show photos of her second costume clean and dirty 2.8 Jenna Mairs-Viola Viola is a young woman of noble birth who is separated from her brother and stranded in Illyria following a shipwreck. In order to survive in this unknown place she adopts the name Cesario 16  and dresses like her lost twin brother. She is intelligent, charming, and quick-witted, but finds she is ill-suited to life as a man.  I dressed Viola in young yachting or cruise attire. She wore warm-weather clothes; an aqua chiffon blouse and cami, and a short floral skirt. To facilitate her quick change into Cesario she wore a straight dark brown wig.  Figure 11: Viola- rendering and show photo of her first costume As Cesario she changed into a short curly wig matching Zach’s natural hair. She also thickened her eyebrows with makeup. I had to consider what Sebastian’s costume when designing Cesario because they needed to match. I decided that Sebastian and Cesario are young, stylish intellectuals who stand out in Illyria because of their understated and simple style. I dressed them 17  in dark blue jeans, dark shoes, and layered green and cream shirts rolled to the elbows. Jenna also wore a chest binder, men’s cut jeans, and layered shirts to help disguise her female figure.    Figure 12: Viola- rendering and show photo of her costume as Cesario 2.9 Demi Pedersen- Festa Festa is the fool who travels between Olivia and Orsino’s courts. She is considered foolish, nonsensical, and fun by the other characters. Like many of Shakespeare’s fools Festa is often prophetic or insightful. To modernize our female Festa we explored archetypes of performers such as a drag queens and lounge singers. I made her a busker/street musician in a Mardi Gras costume.  18   Figure 13: Festa- rendering and show photos Festa is the heart and soul of Illyria. She is dressed much more darkly than any other Illyrian character, exemplifying the dark side to New Orleans as the play. Illyria is dangerous, Olivia is mourning the death of her brother, and Viola believes Sebastian to be dead. Researching voodoo and New Orleans mythology led me to the character of Baron Samedi, who is the charming spirit of debauchery and sexual humour. Baron Samedi’s iconic costume is a black formal coat, top hat, and skeleton mask meant to make him look like a corpse at his funeral. This costume has become a cultural symbol for the spooky side of New Orleans, inspiring characters like Dr. Facilier of Disney’s The Princess and the Frog.  My Festa wore an antique black tailcoat and black pants with bold details in purple, red, and black and white stripes to make the dark colours stand out against the grand and colourful set. She wore many masculine pieces but I feminized her with small details such as a cameo choker 19  and flowers in her hair. I also pulled inspiration from modern young musicians and street performers for some of her costume details, such as her septum piercing and half-shaved head.  2.10 Javier Sotres- Sir Toby Sir Toby is Olivia’s drunken and disorderly uncle who lives on her dime and causes chaos. He is simultaneously unscrupulous and slimy as well as intelligent and likable. He is deeply selfish and plays rude tricks on Malvolio and Sir Andrew. Sir Toby is a major source of comedy. His love affair with Maria also makes him almost charming.   Figure 14: Sir Toby- rendering and show photo Sir Toby is the Illyria of yesteryear- he was once all that was stylish and exciting in the city and is now a sad reminder of what happens when someone refuses to grow up. Drawing on 20  archetypes of drunken uncles, tacky old men, and sleazy used car salesmen I dressed Toby in a clashing mix of 1970s styles and golf clothing. His hair was slicked into a small ponytail and he wore a dark blue polyester disco shirt with a plaid mustard jacket, blue shorts, and golf-style oxfords. For accessories he alternated between a large feathered mask and yellow aviator glasses, with Mardi Gras beads, gold neck chains, and chunky gold rings.  2.11 Cassandra Szabo- Fabienne Fabienne is a servant in Olivia’s household and partner in crime to Sir Toby, Sir Andrew, and Maria. The script provides little of her history or place in the household. Fabienne establishes that many of Olivia’s servants harbour a grudge against Malvolio. She is a less extreme personality as Sir Toby or Sir Andrew, and when the plot of Malvolio’s torture unravels she is the first to confess.  Figure 15: Fabienne- research and show photo 21  Originally I intended to make Fabienne another housekeeper or gardener, but the actress’ portrayal was very energetic and this interpretation did not fit. Cassandra and I decided that Fabienne was Olivia’s tennis instructor. I dressed her in a white polo and blue shorts to resemble the uniforms of resort employees and to match with the blue of Maria’s maid uniform. She accessorized with a high ponytail, canvas shoes, and fun socks that gave her a hint of youthful eccentricity. 2.12 Zach Wolfman- Sebastian Sebastian is Viola’s twin brother whom she believes was lost in the storm that stranded her in Illyria. He is repeatedly mistaken for Cesario and vice-versa. Sebastian is a young man who is noble, brave, kind, and charming.  Figure 16: Sebastian- research and show photo 22  To best facilitate the mix-up, Sebastian and Cesario wore identical pieces of clothing; dark blue jeans, dark shoes, and layered green and cream shirts. Jenna’s wig and makeup was styled to match Zach’s natural hair and appearance, so he only wore basic corrective makeup that did not greatly change his appearance. I chose the costume to help hide Jenna’s curves and add a bit of bulk to Zach’s slim, tall frame, while drawing attention to his hands and face to emphasize his expressive acting.  2.13 Charlotte Wright- Olivia Olivia is a beautiful, wealthy, and proud countess who has retreated from society to mourn the death of her brother. Her icy exterior melts away as she becomes infatuated with Cesario. She begins to hope again and learns to love life. When Cesario is revealed to be Viola and Olivia discovers she has actually married Sebastian, she finds family in her new husband and new sister.  At the beginning of the production, Olivia has resigned to not see visitors for seven years, so I dressed her in comfortable house clothing. My original costume had her in a shabby robe and pyjamas, but on stage it did not match her class and I changed her into a voluminous satin robe. She applied lipstick before Cesario’s arrival to show that she was really hoping for something to pull her out of her melancholy. In this scene she and Maria don scarves Figure 17: Olivia- show photo of her first costume 23  and big sunglasses to obscure their identity around Cesario and to modernize Shakespeare’s lines about wearing a veil to cover her face.  In the following scenes Olivia lusts for life and for Cesario. She tries to impress him by appearing bold and beautiful. I dressed her in a figure-hugging silk dress in the greens and purples of Mardi Gras, with sparkly gold accessories, purple tights and heels, and big blonde hair. I avoided the cheap and synthetic feel that I used for most of Illyria to show that Olivia represents a more luxurious class of Illyrian.    Figure 18: Olivia- rendering and show photo of her second costume  24  Chapter 3: Design Process Professor Heatley presented his concept of a 21st century Mardi Gras theme to the design team early in the summer of 2014. Because this was the first show of the season we all had about five weeks from the beginning of the school year (when we could first access our production facilities) to opening on September 26th. We completed as much design and research work as we could in the summer so we could focus on the practical tasks and problems of building the show once the school year began. I completed my initial renderings and basic paperwork in August after casting was announced in preparation for our first days in the shop.  The nature of this show meant that as a designer I was shopping and altering most pieces and building very few, which was different from the shows I had previously done in educational theatre. Since the production fell at the beginning of the academic year we were shorthanded. Our student costume shop employees were busy preparing the shop for classes, and our practicum students were largely unfamiliar with the facilities. I had originally planned to change each character to show the passage of time, but the initial budget breakdown by head of Figure 19: Renderings of costumes that were cut from the show early in production 25  wardrobe Jodi Jacyk proved that this was impossible. Professor Heatley and I agreed that getting caught up in literal changes only muddied the story and wasted money, so we moved on to a less literal concept that went onstage.  I had to hand most of the building off to Jodi and many of the smaller projects to our practicum students because so much of my time was spent shopping, pulling, and doing fittings. Student Nicole Bairstow was able to lead a group in creating the Mardi Gras masks for the leads with the colours and details I chose. The rest of the practicum students helped with alterations and by adding details. Looking back my biggest mistake was not valuing my time more. I’d had the deadlines in front of me from the beginning but I did not realize the reality of my limited time in the shop and with the actors until we were incredibly busy. The show required a lot of shopping and since I was new to Vancouver I wasn’t yet familiar with the stores around town. The process would have run more efficiently if I had scouted the malls and stores earlier in the summer and began shopping in early August. Without such a crunch in the weeks before opening I could have put more detail into the design and had more resources to make more improvements during dress rehearsals.  26  Chapter 4: Conclusion Overall the design and direction established a cohesive world. The costumes effectively communicated the specifics of character such as class, age, personality, and nationality, while remaining aesthetically interesting and cohesive. My design choices reflected the Mardi Gras setting and emphasized the character traits Professor Heatley considered most important. Our production successfully adapted a Renaissance piece for a fresh contemporary American setting while giving due respect to the original nature of the characters and the script.    27  Bibliography Anonymous. "Bieber Clothing." Web log post. Tumblr. N.p., Jan. 2013. Web. 23 June 2014. <http://bieber-clothing.tumblr.com/>. "Baron Samedi In Popular Culture." Wikipedia. Wikimedia Foundation, n.d. Web. 3 Aug. 2014. <http://en.wikipedia.org/wiki/Baron_Samedi#In_popular_culture>. "List of Tropes." TV Tropes. User-generated Content, n.d. Web. 24 June 2014. <http://tvtropes.org/pmwiki/pmwiki.php/Main/Tropes>. Moore, Jim. "Spring 2014 Trend Report." GQ. Condé Nast, n.d. Web. 15 July 2014. Rodman, Selden, and Carole Cleaver. "Spirits of the Night." The Voodoo Gods in Haiti. Dallas. Texas, o. Jg (1992). Shakespeare, William. "Twelfth Night; Or, What You Will." The Complete Works of William Shakespeare. Ann Arbor, MI: Borders Classics, 2004. 73-97. Print.   28  Appendices Character Plot Appendix A    Act I Scene 1: Orsino’s home, party scene Scene 2: Day- Viola and captain after wreck Scene 3: Early Morning- Olivia’s house, Toby and Andrew drinking Scene 4: Day- Cesario at Orsino’s home  Scene 5: Day- Olivia’s home, Olivia meets Cesario Character Viola    Cesario  Orsino      Olivia     Puts on scarf, glasses, lipstick onstage Sebastian      Malvolio      Feste      Sir Toby      Sir Andrew      Fabienne      Maria   In uniform  In uniform Antonia      Valentina      Other Revelers- Charlotte, Zach, Allyce, Catherine Sea captain (Matt)    29    Act II Scene 1: Day- Antonia’s home Scene 2: Day, same as 1.5, Malvolia gives ring Scene 3: Midnight- partying at Olivia’s, planning to trick Malvolia Scene 4:Next Day, Orsino’s home, sends Cesario to Olivia Scene 5- Day- Malvolio finds letter Character Viola      Orsino      Olivia      Sebastian      Malvolio      Feste      Sir Toby   Partying-masks and beads   Sir Andrew   Partying-masks and beads   Fabienne      Maria   Unzips in scene   Antonia      Valentina      Other      30     Act III Scene 1: Day-in town to Olivia’s garden Scene 2: Day-Same as 3.1, Sir Andrew threatens to leave Scene 3: Late afternoon- Sebastian and Antonia arrive in town Scene 4: Late Afternoon- Malvolio is crazy, Andrew wants to fight Viola Character Viola     Orsino     Olivia Dressed up    Sebastian     Malvolio    Dressed in lingerie, yellow stockings Feste     Sir Toby     Sir  Andrew     Fabienne     Maria     Antonio     Valentina     Other    Helena as Olivia’s attendant 31     Act IV-V Scene 1: Day-same as 3.4, Andrew fights Sebastian Scene 2: Evening of the same day- Malvolia imprisoned Scene 3: Bright Day, next day, in town/outside Olivia’s, twins meet Act V Scene 1- Bright Day, same as 4.3. Twins meet Character Viola     Orsino     Olivia   Returns with wedding veil Add wedding band Sebastian    Dressed like Viola Malvolio  In broken-down costume, dirt makeup, messy hair   Feste  Dresses as Sir Topas  Regular costume Sir Toby    Injured after fight Sir Andrew Falls in fountain in scene   Injured after fight- change to dry costume Fabienne     Maria     Antonia     Valentina     Other   Priest (Matt), officer (Helena) Priest (Matt), officer (Helena) 32  Pieces List  Appendix B  Actor Character Scene Pieces Notes Hair/makeup Jenna Viola 1.2-Shipwreck Aqua sleeveless shirt, grey cami, floral skirt, Doc Marten-style boots, socks, normal bra  Long wig 1.4-Meeting Olivia Cream knit long-sleeve knit shirt, deep green sweater, slim dark jeans, white belt, Doc Marten-style boots, socks, flat bras x2, 1960s-style glasses  Short/wig, eyebrows Nathan Orsino 1.1-Street Party Blue dress shirt, purple velvet jacket, dark slim pants, small purple bow tie, black dress shoes, dress socks, black belt with bold buckle, mardi gras beads Enters 1.1 in large bird mask Temporary tattoos on forearms.    1.4-Sends Cesario to Olivia Blue dress shirt, purple velvet jacket, dark slim pants, black dress shoes, dress socks, black belt with bold buckle. Roll sleeves up to reveal tattoos  2.4-Gives locket to Viola for Olivia Blue dress shirt, purple velvet jacket, dark slim pants, black dress shoes, dress socks, black belt with bold buckle. (no change) Preset     5.1- Going out, marries Viola Blue dress shirt, purple velvet jacket, dark slim pants, small purple bow tie, black dress shoes, dress socks, black belt with bold buckle, mardi gras beads.  Sleeves down    33  Actor Character Scene Pieces Notes Hair/makeup Charlotte Partier 1.1-Street party Dark blue pajama bottoms, black knit top, brocade slippers, blue caftan, gold necklace, mardi gras mask, beads  Curls pinned back Olivia 1.5- Cesario meets Olivia Dark blue pajama bottoms, black knit top, big sunglasses, silky scarf for head, silky navy robe, brocade slippers, big green ring Puts robe, scarf, sun glasses on on-stage. Gives ring to Malvolia on-stage Curls pinned back, puts lipstick on onstage 3.1-Seducing Cesario Green dress, purple bustier, purple tights, purple heels, gold bangles and bracelets, gold watch, sparkly blue/green rhinestone earrings, locket from Orsino  Big styled hair 3.4- Dressing for dinner with Cesario Green dress, purple bustier, purple tights, purple heels, gold bangles and bracelets, gold watch, sparkly blue/green rhinestone earrings, locket from Orsino Locket removed onstage Big styled hair 4.3- Marrying Sebastian Green dress, purple bustier, purple tights, purple heels, gold bangles and bracelets, gold watch, sparkly blue/green rhinestone earrings,  Puts on veil and brings engagement rings x2 when she re-enters with Priest 34  Actor Character Scene Pieces Notes Hair/makeup Zach Partier 1.1 Street party brown belt, dark engineer boots, socks, Mardi Gras mask, beads, White singlet, blue Hawaiian shirt (unbuttoned), dark jeans,    Sebastian 2.1-recovered in Antonia’s home Cream knit long-sleeve knit shirt, deep green sweater, slim dark jeans, brown belt, Doc Marten-style boots, socks, 1960s-style glasses, crème straw fedora  Add lipstick kisses in 4.2, preset handkerchief with makeup wipe in pocket  35  Actor Character Scene Pieces Notes Hair/makeup Allyce Malvolia 1.5-Cesario visits Viola Dark blue pants, black low heels, white dress shirt, navy velvet jacket, socks, dark framed glasses.  Unibrow, mole, tight bun 2.3-Toby and Andrew party outside Dark blue pants, black low heels, white dress shirt, bath robe, socks, dark framed glasses.   2.5-Malvolia finds the letter Dark blue pants, black low heels, white dress shirt, navy velvet jacket, socks, dark framed glasses. Shoes removed onstage, put back on before exit.   3.4-Malvolia dresses as the letter says Yellow girdle with garters,  purple heels, lacy purple fingerless gloves, yellow stockings, yellow and black hoop earrings, yellow patterned robe (clean)  Unibrow, mole, tight bun, purple streak, purple lipstick, purple acrylic nails 5.1-Malvolia crawls out of sewer Yellow girdle with garters,  purple heels, lacy purple fingerless gloves, yellow stockings, yellow and black hoop earrings, yellow patterned robe (broken down)  Hair messy, some nails removed, some dirt makeup on body  36  Actor Character Scene Pieces Notes Hair/makeup Demi Festa .1-Festa’s intro, party  Black velvet pants, tailcoat, stripey vest, tall doc marten boots, faux  gauge earrings, fake septum piercing, cameo choker, skeleton mask, socks, veiled top hat, 3 bold silver rings (hers), dark striped socks Hat is removed on stage Shaved side with flowers, purple lipstick (throughout) 1.5-Festa returns, visits Olivia Same as 1.1 mask removed on stage, not worn again  4.2-Festa dresses as Sir Topas Same as 1.5- no glasses, add brown hooded cape, fake beard on glasses.  Maria carries the Sir Topas robe and beard to Festa, dresses onstage  37  Actor Character Scene Pieces Notes Hair/makeup Javier Sir Toby 1.1-Street party Blue polyester funky shirt, yellow plaid jacket, light blue shorts, thick white socks, golf shoes, 3 big gold rings, big gold watch, 3 gold chains, mardi gras mask, beads Mask is worn in 1.1-1.3 Slicked back hair (throughout) 1.5-Olivia’s house  Blue polyester funky shirt, yellow plaid jacket, light blue shorts, thick white socks, golf shoes, 3 big gold rings, big gold watch, 3 gold chains, beads,    38  Actor Character Scene Pieces Notes Hair/makeup Thomas   Sir Andrew 1.1-Street party Blue ‘paradise’ muscle shirt, purple leopard harem pants, bright aqua runners, red socks, gold fingerless gloves, mardi gras beads, mardi gras mask Mast worn in 1.1-1.3   1.5-Olivia’s house Blue ‘paradise’ muscle shirt, purple leopard harem pants, bright aqua runners, red socks, colorful snapback hat, gold fingerless gloves, mardi gras beads.    2.3- Planning to trick Malvolia Blue ‘paradise’ muscle shirt, purple leopard harem pants, bright aqua runners, red socks, gold fingerless gloves, mardi gras beads, mardi gras mask   2.5-Malvolia finds the letter Blue ‘lift’ muscle shirt, purple leopard harem pants, bright aqua runners, red socks, colorful snapback hat, gold  Falls in pool in 3.4   fingerless gloves, mardi gras beads.   5.1-After fight Blue ‘lift’ muscle shirt, purple leopard harem pants (dry), bright aqua runners, red socks, colorful snapback hat, gold fingerless gloves, mardi gras beads, bloody bandages   39  Actor Character Scene Pieces Notes Hair/makeup Cassandra Partier 1.1-Street party  Royal blue dress, simple shoes, mardi gras mask, beads,  Hair down  Fabienne 2.3-planning attack on Malvolia  Aqua shorts, white polo shirt with blue logo, black converse, mardi gras beads No changes after 1.1 Hair in ponytail Ghazal  Maria 1.1-Street party Blue maid’s dress, simple black pumps, white apron, black slip, peach garter belt, charcoal fishnets, Mardi Gras beads, mask  Curly hair clipped back neatly, red lipstick 1.3-Chastises Sir Toby for drinking Blue maid’s dress, simple black pumps, white apron, black slip, peach garter belt, charcoal fishnets  Curly hair clipped back neatly, red lipstick 1.5- Cesario meets Olivia Blue maid’s dress, simple black pumps, white apron, black slip, peach garter belt, charcoal fishnets, lightweight navy trench coat, scarf over hair, sunglasses Puts coat, sunglasses, scarf on onstage  2.3-planning attack on Malvolia Blue maid’s dress, simple black pumps, white apron, black slip, peach garter belt, charcoal fishnets, mardi gras beads. Reveals sparkly slip onstage  Lets curly hair down into big frizzy chaos 40  Actor Character Scene Pieces Notes Hair/makeup Ghazal Maria Curtain call Blue maid’s dress, simple black pumps, white apron, black slip, peach garter belt, charcoal fishnets, mardi gras beads, veil on comb  Frizzy curly hair Catherine Partier 1.1-Street party Black and purple patterned leggings, black satin skirt, simple black flats, flesh toned ankle socks, purple tank top, mardi gras mask, mardi gras beads  Hair down Antonia 2.1-Caring for Sebastian at home Blue polka dot blouse, blue polka dot skirt, black undershorts, simple black flats, pearl earrings, camisole, flesh toned ankle socks, canvas tote bag, political buttons,   Hair curly in low side ponytail 41  Actor Character Scene Pieces Notes Hair/makeup Helena  Valentina 1.1-Street party Neon green shirt, simple black shoes, gold  necklace, black slim pants, white skinny belt,  grey blazer  Hair in bun Officer 2.2-Malvolia gives Viola the ring Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses.  Hair down Valentina 2.4-Orsino’s home Neon green shirt, simple black shoes, gold  necklace, black slim pants, white skinny belt,  grey blazer  Hair in bun Officer 3.3-Sebastian and Antonia enter Illyria Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses.  Hair down  Attendant/ housekeeper 3.4-Malvolia is crazy, Sir Andrew’s fight Broken down button-up shirt,  Black pants, black shoes, black ‘SECURITY’ shirt , turquoise bandana, pink flowery dish gloves  Hair in bun under bandana Officer 3.4-Sir Andrew fights Viola Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses.   Hair down Attendant/ housekeeper 4.3-Olivia marries Sebastian Broken down button-up shirt,  Black pants, black shoes, black ‘SECURITY’ shirt , turquoise bandana, pink flowery dish gloves  Hair in bun under bandana 42     Actor Character Scene Pieces Notes Hair/makeup Matt Sea Captian 1.2-captain rescues Viola White singlet, dark blue Hawaiian shirt, sandals, dog tags, blue jeans cut off at knees,  Messy hair Officer 2.2-Malvolia gives Viola the ring Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses, leather band watch.  Hair slicked back Officer 3.3-Sebastian and Antonia enter Illyria Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses, leather band watch.  Hair slicked back Priest 4.3-Olivia marries Sebastian Black ‘SECURITY’ shirt, black priest’s shirt, clerical collar dickey, black pants, black dress shoes, round glasses, leather band watch  Hair parted on side Officer 5.1-Siblings meet Black pants, black shoes, black ‘SECURITY’ shirt, big dark aviator glasses, leather band watch, tissue in nose  Hair slicked back Priest 5.1 (second half) Black ‘SECURITY’ shirt, black priest’s shirt, clerical collar dickey, black pants, black dress shoes, round glasses, leather band watch 2 minutes to change into priest Hair parted on side 

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