Theatre Design & Technology - Spring 2018 - 12
Lake, Eugene Onegin, Froth of the Daydream, plus Woyzeck, which she created
in collaboration with scenic designer
Jakub Kopecký and the acclaimed Czech
directing duo SKUTR. Design elements
vary greatly across these four works, but
overarching qualities include characters
designed with precise head-to-toe detail
in sophisticated and controlled color palettes in a dramatic and often witty, postmodern style. Sheer fabrics, sumptuous
furs, bare skin, and luxuriously draped
skirts and tunics add a sensual quality in
keeping with the love theme, contrasting
beautifully with the design's more sculptural elements like crisp suits and voluminously pleated skirts. Equally striking
is the way in which Rybáková's costumes
seamlessly harmonize with the other
production design elements, a testament
to the power of her long-term collaboration with this team of like-minded artists.
Proclaiming that "there were not
enough prizes for the emerging designers," costume design judge Igor
Roussanoff of the United States was
so impressed by the consistently high
quality of work in the Emerging Designers category that he found it especially
challenging to select only three winners.
Nevertheless, Roussanoff and his fellow
judges reached consensus, awarding the
gold prize to TNUA graduate Yu-Jung
Shen of Taiwan for his work on Pool (no
water). Wishing to explore the semiotics
of archetypal clothing, Shen incorporated signifiers such as a "simple black
Chanel dress to indicate female empowerment" (367) and a white blazer with a
sheer, striated pink overlay to represent
underlying narratives of LGBTQ culture
into his design. Set in "an empty, decaying swimming pool to signify the breakdown of morality in the players" (367),
Shen's approach highlights costume's
ability to contextualize a character's social location through the language of
clothing.
Excellence in costume-driven performance design was also recognized by
the judges, including the silver-winning
performance piece, Ping, by Daphne
Karstens of The Netherlands. Drawing
inspiration from near-death and outof-body experiences, Karstens' design
starts out as a cocoon of circular white
wires that is slowly removed to reveal a
performer in a skin-colored unitard affixed with tubes reminiscent of the car-
12 |
THEATRE DESIGN & TECHNOLOGY
|
SPRING 2018
http://www.citytheatrical.com
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2018
Contents
Theatre Design & Technology - Spring 2018 - Cover1
Theatre Design & Technology - Spring 2018 - Cover2
Theatre Design & Technology - Spring 2018 - 1
Theatre Design & Technology - Spring 2018 - Contents
Theatre Design & Technology - Spring 2018 - 3
Theatre Design & Technology - Spring 2018 - 4
Theatre Design & Technology - Spring 2018 - 5
Theatre Design & Technology - Spring 2018 - 6
Theatre Design & Technology - Spring 2018 - 7
Theatre Design & Technology - Spring 2018 - 8
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Theatre Design & Technology - Spring 2018 - 37
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Theatre Design & Technology - Spring 2018 - Cover3
Theatre Design & Technology - Spring 2018 - Cover4
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