Future Work

The history of Western theatre costume as recorded by Oscar Brockett evolved from the ritual performance in worship of the Greek god, Dionysus. Recounting the evolution of costume in Western theatre Cohen posits:

The first theatrical costumes were essentially ceremonial vestments. The himation (a gown-like costume) of the early Aeschylean actors was derived from the garment worn by the priest-chanter of the dithyramb; the comic and satyr costumes, with their use of phalluses and goatskins, were likewise derived from more primitive god-centered rites. (147)

Early Greek theatre costumes were basically ceremonial robes. The chiton was a gown-like costume similar to the robes worn by the priest who chanted the choral odes. Brockett and Hildy submit that, “Several historians have argued that the standard costume for all tragic

actors was a sleeved, highly decorated tunic (chiton), usually full-length, although sometimes shorter.” (22) Actors who played tragic roles wore boots called cothurneses that elevated them above other actors. When playing female roles, the male actors donned a

“prosternedia” which is a wooden structure worn in front of the chest to simulate breasts.

Elaborating more on the details of Greek tragic costumes, Oklobia and Bakare posit that in the Classical Greek period, “The exaggerate costumes, masks and symbolic ornaments were more than extensions or enlargements of everyday regular cloths.” (103) The Greek mask was a significant element in the worship of Dionysus at Athens; it was used in ceremonial rites and celebrations. The mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.

However, because of the ritualized style of the theatre, many masks were used in giving each character a specific look and they varied depending on the genre of the play they were used for. Some masks were constructed with a cheerful look while some were constructed with a serious countenance. Costumes have been a very important factor of the production, because they could determine the characters by gender or social status. In the early productions actors have been using body painting. Gradually they started using animal skins, ears, even feathers. There are frequent allusions to costumes in the work of Aristophanes, the classical Greek comedian. The attire of the chorus was extremely fantastic, and always suggestive of the part represented. Thus, in Aristophanes‟ Birds, they appear with large open beaks, and in the Wasps with huge protruding stings.

When the poets introduced the use of costumes, they imitated the contemporary dressing (the chiton which is a simple tunic garment of lighter linen, worn by female and male genders and all ages and hemateon, a basic outer garment worn over the chiton). Both

of these clothes (chiton and hemateon) were decorated and worn by actors depending on the occasion. Chiton usually fell to the ankle of the wearer, but shorter ones were sometimes worn during vigorous activities by athletes, warriors or slaves. A soccus, or thinly-soled buskin, took the place of cothurnus, and the masks were lighter, but distorted beyond all resemblance to human features. The same is true for the Romans who continued the mask tradition which made the doubling of roles easy.

During the late Middle Ages in Europe, dramatic enactments of Bible stories were prevalent, hence actual Christian vestments were worn for theatrical performances. Oklobia and Bakare suggest that, “The Medieval period saw stage costumes as a marvelous mix of the real and the symbolic…” (103) Costumes in Medieval drama were nearly identical to the robes worn by the priests who originated the liturgical texts. Cohen opines that “The priest who first enacted the Quem Queritis trope (liturgical text) in medieval Europe simply wore their sacred albs…” (147) Costumes in Japanese Noh drama were based on the spiritual rather than secular world. Brockett and Hildy opine that, “The most typical Noh plays have as protagonist ghosts, demons…Noh plays are extremely varied, all draw on…Buddhist views.” (626) Cohen also posits that:

…the actors of the classical Japanese noh drama even today wear costumes that relate more to spiritual sources than to secular life. Ancient uses of costuming have served primarily to separate the actor from the audience, to

“elevate” the actor to a quasi-divine status. (147)

Later, in Elizabethan performances during the 1500-1600s in England, costume became the most important visual element. Garments were very expensive because only the finest fabrics were used. The majority of characters were clothed in Elizabethan fashion.

The Elizabethan costumes were regal and ceremonial but were rarely used to establish character. Cohen opines that, “English theatre of this time was known throughout Europe

for the splendor of its costuming, but apparently little effort was made to suit costume to characterization.” (148) In Shakespeare‟s time, it was common to see some actors wearing contemporary clothing alongside some who dressed for the period in which the play was set. Brockett records that, “Like the medieval, the Elizabethan mind had little sense of history, and characters from almost any place or time could be dressed as Elizabethans would.” (170) Otherwise the costumes could be divided into five categories: “Ancient”, which was used to represent another period; “Antique”, which were made of older additions to contemporary clothing to distinguish classical characters; “Dreamlike”, which were fanciful garments to represent supernatural or allegorical characters; “Traditional”

which were clothes used to represent characters like Robin Hood, and “Racial” which were costumes intended to set apart a specific group of people. In the commedia del‟arte pieces of Renaissance Italy, costumes for recurring characters helped in signifying gender, occupation, age and education.

Costuming more similar to what we know today came acquired much of its present attributes during the 18^th and 19^th centuries when more realist elements began to dominate both the Western and African theatres. According to Cohen: “The shift of stress in costuming from a “dressing up” of the actor to a defining of the character came about gradually in the theatre‟s history.” (147) The idea of visual unity and a production as a total concept was established in the early 1900s, and the director evolved to fuse the different elements- text, concept, performance, design, and lighting into a seamless whole.

Lyndersay posits that, “The evolution of a stage costume is towards its ultimate purpose: to create and dress an image which clearly enhances the delineation of a character.” (3)

Hence, it was a gradual change whereby we started to see costumes used in a realistic mode.