Theatre Design & Technology - Spring 2013 - 56
Act One
In act one, Deconstruction, viewers were able to witness the creative process used by costume designers. Their research, the development of character (starting well before the beginning of the story being told in the movie), and the ways in which a character
becomes real in the imaginations of the audience were all examined.
The scenes in act one were titled Designing the Character, Setting the Stage, and Deconstructing Character. There was also a
section of short videos recorded by visitors to the exhibition in the first days after it opened in which they made observations about
their own clothing choices.
Complete costumes, from gowns and three-piece suits to bathrobes and leather jackets, were arranged to allow visitors to see
them from all sides. On screens behind the costumes, stills from the movies for which they were designed faded in and out. This
strategy allowed viewers to focus on the costume itself while being reminded of the context in which the characters appeared. Costumes in these tableaus ranged from The Last Emperor (1987) to Scarlett O'Hara's green curtain dress from Gone with the Wind
(1939) (with green light shining down on it to restore it from faded glory to the color it appeared on screen and in our minds), to
the bathrobe worn by Jeff Daniels throughout The Big Lebowski (1998).
A group of costumes from Ocean's Eleven (2001) showed how costume designer Jeffrey Kurland used some subtle and some
bold means to distinguished among the conspirators who planned to steal $150,000,000 from an underground vault in Las Vegas.
The heroes, Danny Ocean (George Clooney) and Rusty Ryan (Brad Pitt), recruit nine specliaists for the heist: moneyman Reuben
Tishkoff (Elliot Gould), card dealer Frank (Bernie Mac), pickpocket Linus (Matt Damon), an aging con artist, Saul (Carl Reiner),
an explosives expert, Basher (Don Cheadle), a technician, Dell (Eddie Jemison), two obnoxious brothers, Virgil (Casey Affleck) and
Turk (Scott Caan), and a professional acrobat, Yen (Shaobo Qin). Kurland helped the audience-and the performers-grasp the
difference between a pickpocket and an explosives expert, for example, by their costumes.
The Changing Context exhibit
featured images on large screens as
well as costumes on mannequins.
In the section on westerns and
epics were John Wayne's costume
in The Searchers (1956), designed
by Charles Arrico, Charlton
Heston's robe in Ben-Hur (1959),
designed by Elizabeth Haffenden,
and Russell Crowe's armor in
Gladiator (2000), designed by
Janty Yates.
54
theatre design
& technology
s p r i n g 2013
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013
Contents
Theatre Design & Technology - Spring 2013 - 1
Theatre Design & Technology - Spring 2013 - 2
Theatre Design & Technology - Spring 2013 - 3
Theatre Design & Technology - Spring 2013 - Contents
Theatre Design & Technology - Spring 2013 - 5
Theatre Design & Technology - Spring 2013 - 6
Theatre Design & Technology - Spring 2013 - 7
Theatre Design & Technology - Spring 2013 - 8
Theatre Design & Technology - Spring 2013 - 9
Theatre Design & Technology - Spring 2013 - 10
Theatre Design & Technology - Spring 2013 - 11
Theatre Design & Technology - Spring 2013 - 12
Theatre Design & Technology - Spring 2013 - 13
Theatre Design & Technology - Spring 2013 - 14
Theatre Design & Technology - Spring 2013 - 15
Theatre Design & Technology - Spring 2013 - 16
Theatre Design & Technology - Spring 2013 - 17
Theatre Design & Technology - Spring 2013 - 18
Theatre Design & Technology - Spring 2013 - 19
Theatre Design & Technology - Spring 2013 - 20
Theatre Design & Technology - Spring 2013 - 21
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Theatre Design & Technology - Spring 2013 - 24
Theatre Design & Technology - Spring 2013 - 25
Theatre Design & Technology - Spring 2013 - 26
Theatre Design & Technology - Spring 2013 - 27
Theatre Design & Technology - Spring 2013 - 28
Theatre Design & Technology - Spring 2013 - 29
Theatre Design & Technology - Spring 2013 - 30
Theatre Design & Technology - Spring 2013 - 31
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Theatre Design & Technology - Spring 2013 - 33
Theatre Design & Technology - Spring 2013 - 34
Theatre Design & Technology - Spring 2013 - 35
Theatre Design & Technology - Spring 2013 - 36
Theatre Design & Technology - Spring 2013 - 37
Theatre Design & Technology - Spring 2013 - 38
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Theatre Design & Technology - Spring 2013 - 40
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