Theatre Design & Technology - Fall 1987 - 81

ment when a show is in production. Some useful questions to
ask concerning the effectiveness of the candidate are:
1. What is the quality of studio and stage maintenance?
2. Are studio spaces and crews well-organized for efficiency and safety?
3. What are the frequency and nature of accidents/
injuries?
4. How well are standard safety procedures followed?
5. What is the quality of logistical planning (for example,
the recurrence of rush orders may indicate an inability
to anticipate needsl?
6. How well does the candidate maintain control of the
studio budget?
7. Does the candidate generate appropriate paper work
which is effective in expediting the daily work of the
studio?
8. How effectively does the candidate meet production
schedules?
9. Does the candidate contribute to the creation of a positive learning environment?
10. Has the candidate been active in keeping abreast of
contemporary theatre technology?
11. Has the candidate or the candidate's studems been
active in exploring appropriate new technical or administrative methods?
COSTUMERS
The costumer is an artisan/scholar/teacher charged with translating the designer's two-dimensional illustrations into threedimensional wearable costumes. The fabrication of costumes is
typically a unique-product process, requiring for each item the
ability to create patterns and formulate construction methodology. The completed costume must nor only ful£ll the visual
requirements of the designer, but must also accommodate the
performer's need for bodily flexibility as required by the director and/or choreographer. The costumer typically oversees professional staff, students, and/or volunteer technicians and artisans to accomplish this goal, and thus should be evaluated as
both a technological practitioner and an administrator.
Though competent individuals vary greatly in their depth of
knowledge and ability in anyone area, the range of proficiency
typically required of the costumer includes:
A. Technology and design
1. knowledge of the materials and methods of costume construction:
a. knowledge of textiles and their properties.
b. knowledge of various costume construction
methods/procedures, including fitting, tailoring, corsetry, etc.
c. capability in creating patterns for garments and
accessories, using methods including drafting,
flat-patterning, draping.
d. knowledge of fabric modification, including
dyeing, painting, lamination, distressing.
e. knowledge of the materials and methods of constructing costume accessories, including millinery, jewelry, armor, footwear, etc.
£. knowledge of techniques in makeup, hair, wigs,
and masks.
2. knowledge of movement for dance and stage combat, particularly as it affects the construction of
costumes.
3. knowledge of the safety precautions and regulations affecting materials and processes used in costume and accessories construction.
4. understanding of the related production areas of
scenic, costume, and lighting design and technical
direction.

B. Literature and history
1. knowledge of dramatic literature, including historic genres, and competence in textual analysis of
scripts.
2. knowledge of the history of theatrical production,
with emphasis on the visual elements of scenery,
properties, lighting, and costumes.
3. knowledge of historic dress, including ethnic and
folk dress and accessories, non-western and unique
ethnic theatrical costumes (Greek tragedy, opera,
ballet, rock video, etc.l, and differing national
styles of historic dress and costume.
4. knowledge of historic textiles and textile decoration, including theatrical materials and artifacts
such as masks.
5. knowledge of historic garment and accessories construction, including methods of pattern
development.
6. knowledge of the history of makeup, hair, wigs, and
masks.
C. Administration
1. strong competence in the oral and written communication methods required to secure sensitive
translation of costume designs into wearable
costumes.
2. competence in the managerial activities necessary
for the production of costumes, including studio
personnel management, scheduling, fiscal management (budget development, materials acquisition), equipment acquisitions and maintenance.
3. ability to work and collaborate with various artists,
technologists, and technicians, many or all of
whom may be relatively unskilled students, under
pressure.
4. competence in the higher level planning required
in seasonal or repertory contexts.
Competence in the costumer requires the ability to consistemly integrate knowledge in the areas noted above to produce
costumes which are artistically and technologically sound.
Such expertise is demonstrated by participation in production,
either on or off campus. The competence of the costumer is best
evaluated by professional peers in costuming and theatre, who
should be agreed on in advance by the candidate and
administration.
It is the responsibility of the candidate to provide evaluators
with evidence of his/her competence. The costumer should
submit for evaluation a portfolio which might contain a resume, photographs of both the costume designer'S sketches/
renderings and photographs of the finished costumes and accessories. Actual costumes may also be supplied for evaluation.
For a few selected costumes, we suggest that the following
information be provided for use by the evaluation team:
I. Basic information - ti tie of the play; names of the play-

wright, producing theatre/organization, director, designers; costumer educational level at the time the costume was completed; date of completion.
II. Co tume breakdown - total number and description of
costumes provided; sourcelsl of costumes (new construction, re-made costumes, stock, purchase, rentall; sources
for wigs and accessories; pattern source(sl (commercial patterns, drafted or draped patterns, pre-fitted mock-ups!; budget for costumes and accessories.
ill. Costume studio information-studio location relative to
the theatre or rehearsal hall if this affected construction;
number and type of sewing machines available; availability
of specialized equipment for dye work/fabric modification,
millinery, etc.; approximate worker-hours available for
building costumes, skills levels of available technicians and
artisans.

TD&T SUPPLEMENT

*

FALL 1987

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987

Contents
Theatre Design & Technology - Fall 1987 - 1
Theatre Design & Technology - Fall 1987 - 2
Theatre Design & Technology - Fall 1987 - 3
Theatre Design & Technology - Fall 1987 - Contents
Theatre Design & Technology - Fall 1987 - 5
Theatre Design & Technology - Fall 1987 - 6
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Theatre Design & Technology - Fall 1987 - 8
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