Theatre Design & Technology - Spring 2018 - Public - 37

wearing Dean's original costume. However, when reviewing photographs taken
of a folder at the NMA documenting a
1994 remount with students from The
Australian Ballet School, a small note
was discovered crediting Dean for dancing both the Boy Initiate and Lightning
Woman in the televised version. A program from the original production lists
one of The Tribal Men as Ian Henderson, so a reasonable conclusion might
be that the leggings are actually from
the original costume worn by Ian Henderson. However, the leotard, marked
"RUSSEL," remains a mystery. We are
also left with the nylon costume labelled
as Dean's. When was this costume made
and worn, and why? Were any other
costumes remade? No straightforward
answers present themselves. Certainly,
wool would have been hot to wear, and
the longevity of the woollen costume was
compromised by its materiality as both
the leotard and leggings show multiple
areas eaten by insects. Both costumes
retain traces of the brown body paint
that covered the white skin of the dancer,
and both bear similar decorations representing tribal markings; no records exist
detailing what type of paint, or make-up,
was actually used. A detailed look at
these markings raises far deeper questions than just the items' provenance.
Due to a lack of funding, Dean and
Carell sought sponsors to realize the costumes. An original program extends sincere thanks to Jantzen (Australia) Ltd. for
donating materials for costumes, Pacific
Super-Tex of Australia for donating chenille for costumes, and David Jones Ltd.
for assistance in making of costumes. It

could be assumed that Jantzen (part of
the knit goods and swimwear industry)
donated the wool jersey for the body of
the costumes, and Pacific Super-Tex the
chenille for loin cloths and decorative
elements. Pacific Super-Tex of Australia
was a product line name for Pacific Chenille Craft, an American company based
in Los Angeles that expanded to Australia in 1940 as the popularity of chenille
boomed. The traditional markings on the
body of each dancer were represented
on the costumes with the use of a white
cotton fringe (as described in NMA item
description) or a tufted chenille trim.
In photographs taken by Dean and
Carell on their tour of Aboriginal Australia, many of which they published in
Dust for the Dancers, two examples of
traditional body markings are evident:
white lines and designs painted directly
onto the skin, and white lines made of
down feathers attached to the skin with
blood drawn from the dancer's own body.
Both types of markings have an intensity and boldness on the skin of the Aboriginal dancers that does not translate
onto Dean's costumed body. Instead, the
plushness of the chenille trim makes the
visceral quality of the costume's Aboriginal marks feel more akin to the soft, fuzzy
lines one might find decorating a handknitted toy. When viewing the archived
objects in person, the author noted that
the two Boy Initiate costumes felt soft,
worn, and lacking in power, yet Dean
recalled "[a]ll the dancers representing
actual tribal Aborigines were given authentic costume styles, dance steps, and
gestures. The supernatural creatures of
the Boy Initiate's visions were dressed in

Excerpt from an original Corroboree program, photographed by the author. Reproduced
courtesy of the State Library of New South Wales [MLMSS 7804/13].

SPRING 2018

|

THEATRE DESIGN & TECHNOLOGY

| 37


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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2018 - Public

Contents
Theatre Design & Technology - Spring 2018 - Public - Cover1
Theatre Design & Technology - Spring 2018 - Public - Cover2
Theatre Design & Technology - Spring 2018 - Public - 1
Theatre Design & Technology - Spring 2018 - Public - Contents
Theatre Design & Technology - Spring 2018 - Public - 3
Theatre Design & Technology - Spring 2018 - Public - 4
Theatre Design & Technology - Spring 2018 - Public - 5
Theatre Design & Technology - Spring 2018 - Public - 6
Theatre Design & Technology - Spring 2018 - Public - 7
Theatre Design & Technology - Spring 2018 - Public - 8
Theatre Design & Technology - Spring 2018 - Public - 9
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Theatre Design & Technology - Spring 2018 - Public - 12
Theatre Design & Technology - Spring 2018 - Public - 13
Theatre Design & Technology - Spring 2018 - Public - 14
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Theatre Design & Technology - Spring 2018 - Public - 16
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Theatre Design & Technology - Spring 2018 - Public - 18
Theatre Design & Technology - Spring 2018 - Public - 19
Theatre Design & Technology - Spring 2018 - Public - 20
Theatre Design & Technology - Spring 2018 - Public - 21
Theatre Design & Technology - Spring 2018 - Public - 22
Theatre Design & Technology - Spring 2018 - Public - 23
Theatre Design & Technology - Spring 2018 - Public - 24
Theatre Design & Technology - Spring 2018 - Public - 25
Theatre Design & Technology - Spring 2018 - Public - 26
Theatre Design & Technology - Spring 2018 - Public - 27
Theatre Design & Technology - Spring 2018 - Public - 28
Theatre Design & Technology - Spring 2018 - Public - 29
Theatre Design & Technology - Spring 2018 - Public - 30
Theatre Design & Technology - Spring 2018 - Public - 31
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Theatre Design & Technology - Spring 2018 - Public - 33
Theatre Design & Technology - Spring 2018 - Public - 34
Theatre Design & Technology - Spring 2018 - Public - 35
Theatre Design & Technology - Spring 2018 - Public - 36
Theatre Design & Technology - Spring 2018 - Public - 37
Theatre Design & Technology - Spring 2018 - Public - 38
Theatre Design & Technology - Spring 2018 - Public - 39
Theatre Design & Technology - Spring 2018 - Public - 40
Theatre Design & Technology - Spring 2018 - Public - 41
Theatre Design & Technology - Spring 2018 - Public - 42
Theatre Design & Technology - Spring 2018 - Public - 43
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Theatre Design & Technology - Spring 2018 - Public - 46
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Theatre Design & Technology - Spring 2018 - Public - 65
Theatre Design & Technology - Spring 2018 - Public - 66
Theatre Design & Technology - Spring 2018 - Public - 67
Theatre Design & Technology - Spring 2018 - Public - 68
Theatre Design & Technology - Spring 2018 - Public - Cover3
Theatre Design & Technology - Spring 2018 - Public - Cover4
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