Theatre Design & Technology - Spring 1994 - 14

Stretch knit multi-piece ensembles like the commercially
available Units and Multiples also are capable of a huge variety
of changes of silhouette, and are particularly good for dance and
movement. Stretch and Sew produces a multisized pattern for all
the knit ensemble pieces for women for only $10, and sewing
these things is mindlessly simple and fast. I watched a women's
experimental theatre company a few years ago make fantastic
use of the small stretch tubes in rhese sets, wrapping them
around different parts of their anatOmy during different
moments in their piece, doing their transformations on stage. In
fact, it is the on-stage transformative possibilities of
Omnigarments that make them mosr theatrically exciting.
Another less drastic alternative than making or buying a
whole new set of costumes is making up a box of already-made
stock costumes from old shows, with a variety of colors, textures, and accessories, from which actors can create full outfits.
This, however, requires more knowledgeable performers than
the other methods, and requires a great deal of costumer assistance at rehearsals to help the actors. Generally I haven't found
this method effective with any but the most costume-experienced
performers on the one extreme, or children on the other. Middleground performers just don't handle this well.
VARIA110 SOmE OMNIGARMENT

Finally, there is also the obvious possibility of creating a new
Omnigarment of a different shape. As I mentioned earlier, just
the slight variation of the larger, rectangular version of the foursquare shape, without a mask, worn by the older characters
could convert into about a half-dozen different variations from
the shorter masked original. Other shapes I have pondered over
include stretchable tubes and bags, circles, triangles with snap
ends, assorted squares and rectangles, and a variety of stars and
octagons. The secret seems to be in finding a shape that is neither
too simple to be limiting or too complicated to be used by the
actor.
The possibilities, though hardly endless, are at least varied
enough to provide a large number of very distinct design looks,
suitable to an equally large variety of non-naturalistic production
styles. And while Omnigarments as costumes are unsuitable for
many plays, the advantages of including actors in the design
process are too obvious to require defending: Student performers
can thereby develop an interest in design, as well as a sense of

responsibility for their costume. It is no longer this ours ideimposed "thing," but a product of their own creative imagination and ingenuity. The cast is drawn together by the shared
experience of exploring the conversion possibilities of the garment and assisting in any onstage changes. The costume becomes
what it is supposed to be: an on-stage tool for the actor. The costumer is surprised (I was) and pleased at discovering that actors
do in fact have a latent design sense, and develops an improved
respect for actors. Actors in turn are flattered to be trusted with
important design decisions, and don't
get in an adversarial position with the
designer. The designer retains control
of the look of the show as a whole,
while the actor gains greater control
over the look of his individual character. And the audience, if it's aware of
the process (and depending on the type
of garment, it mayor may not be obvious) is fascinated. No redoing of costume construction to change the
designs ar rhe last minute, no actor/costumer wars-everybody wins. Try it
:r
some time, it's fun!

TARA MAGfNNIS is the costume desigll-'
er at the University of Alaska
Fairbanks. During the next academic
year she will be working with the
lnterstudio Theatre in Pushkin,
Russia.

SPRING

1994

TD&T

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