Theatre Design & Technology - Fall 2019 - 39

Jerildy Bosch's portion
of Mexico's exhibit.
Photo by Sabrina
Notarfrancisco.

In Traces of Tissue, Dean and Østergaard explore the relationship between
movement and costume and the ways
these two elements can inform each
other. To achieve this effect, the team designed nude-colored bodysuits covered
in multiple yards of red and skin-toned
Lycra strips. For the PQ performance,
ensemble members tied the strips onto
flagpoles, which securely anchored their
bodies as they metaphorically stretched
away from their homelands while remaining firmly rooted to their pasts.
Alternatively, the strips were also held
and stretched by ensemble members,
resulting in enhanced connections and
interactions between the performers and
larger human societies.
The red and nude-colored strips
were visceral; they literally looked like
their namesakes. When combined with
the movement and voice work of the performers, the strips effectively conveyed

the profound trauma, both physical
and emotional, of being displaced. The
dynamic action of the stretched-to-thelimit spandex created a visual tension
that spoke volumes about the plight of
refugees and contrasted sharply with the
lifelessness of the spandex after it was
removed from the flagpoles and held,
limply, in each performer's arms. 
While watching the piece, it was
clear how closely linked the costumes
were to the movement and voicework of
the performers and how integral the costumes were to the storytelling process. It
was also fascinating to learn more about
how BETWIXT's personal investigation
of the materials informed their artistic
practice. In developing the piece, Dean
and Østergaard tested the costumes
before adding the performers to the process, which allowed them to "develop a
basic vocabulary from the movement and
sound that the costume and site evoked

in its physical embodiment." Such explorations make one marvel at how a simple
garment, combined with the deliberate
movements made possible through the
costume, can convey such profound and
nuanced meaning.
As illustrated in these two performances, costume designers, especially
in the international design community,
are becoming increasingly interested in
self-producing work that foregrounds
costume as the primary driver of a performance. This of course, contrasts
strikingly with its more traditional role
of blending into the narrative of a piece
to support the storytelling. Both modes,
of course, are equally valid, yet there is
often a tension between the two. It can
be especially challenging for classically
trained designers to think of costume in
a leading role, since so many of us have
spent our careers designing around a director's vision, the storytelling arc of the
FALL 2019

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THEATRE DESIGN & TECHNOLOGY

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Theatre Design & Technology - Fall 2019

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2019

Contents
Theatre Design & Technology - Fall 2019 - Cover1
Theatre Design & Technology - Fall 2019 - Cover2
Theatre Design & Technology - Fall 2019 - 1
Theatre Design & Technology - Fall 2019 - Contents
Theatre Design & Technology - Fall 2019 - 3
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Theatre Design & Technology - Fall 2019 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com