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==History== In ancient Greek theatre, costumes were simplistic yet symbolic, aiding in character differentiation. Ritualized masks were a defining feature, allowing actors to convey emotions without switching masks.<ref name=":0">{{Cite web |title=All the World’s a Stage: The Artistic History of Costumes |url=https://rauantiques.com/blogs/canvases-carats-and-curiosities/all-the-world-s-a-stage-the-artistic-history-of-costumes |access-date=2025-05-06 |website=M.S. Rau |language=en}}</ref> Ancient Greek village festivals and processions in honor of [[Dionysus]] (See also: [[Dionysia]]) are believed to be the origin of theatre, and therefore theatre costume. Sculpture and vase paintings provide the clearest evidence of these costumes.<ref name="Eubank"/> Ritualized masks were used giving each character a specific look. They varied depending on whether they were used for comedic or dramatic purposes. Some masks were constructed with a cheerful as well as a serious side on the same face in an attempt to indicate a change in emotion without a change of mask.<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=53}}</ref> The same is true for the Romans, who continued the mask tradition; doubling a mask made doubling roles easier. During the [[Late Middle Ages]] in Europe, dramatic enactments of [[Bible]] stories were prevalent, therefore actual Christian vestments, stylized from traditional [[Byzantine]] court dress, were worn as costumes to keep the performances as realistic as possible.<ref name="Eubank"/> [[Stereotypical]] characterization was key when clothing performers for this style of theatre. In most instances actors had to supply their own costumes when playing a character found in daily life.<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=96}}</ref> By the Elizabethan era, costumes became the most important visual element, often made from luxurious fabrics. <ref name=":0" /> In [[Elizabethan theatre]] of the 16th and 17th centuries in England, costume emerged as the most important visual element. Garments were very expensive as they were made from the finest fabrics. By the 17th and 18th centuries, European theatre saw actors wearing contemporary fashion with added elements like crowns to signify royalty. <ref name=":0" />The majority of characters were clothed in contemporary Elizabethan fashion. The costumes could be divided into five categories: "Ancient", which was out of style clothing used to represent another period; "Antique", older additions to contemporary clothing to distinguish classical characters; Dreamlike, "fanciful" garments for supernatural or allegorical characters; "Traditional" clothing which represented only a few specific people, such as Robin Hood, or "National or Racial" costumes that were intended to set apart a specific group of people but did not tend to be historically accurate.<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=125}}</ref> "Ordinarily, fashionable garments were used in both comedy and tragedy until 1727, when Adrienne Lecouvreur adopted the much more elaborate and formal court dress for tragedy. Her practice soon became standard for all tragic heroines" <ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=254}}</ref> Major actors began to compete with one another about who would have the most lavish stage dress. This practice continued until around the 1750s when costumes became relevant to the character again. Art began to copy life and realistic characteristics were favored especially during the 19th century. The 19th century marked a shift toward historical accuracy, driven by figures like Georg II, Duke of Saxe-Meiningen, who insisted on authentic materials such as real chain mail and armor.<ref name=":1">{{Cite thesis |last=Holt |first=Anne |title=Reading Costume Design: the rise of the costume designer 1850-1920 |date=2014 |publisher=Columbia University |url=https://academiccommons.columbia.edu/doi/10.7916/D8H1305D |doi=10.7916/d8h1305d |language=en}}</ref> For example, Georg the second, Duke of Saxe-Meiningen took personal interest in the theatre and began managing troupes. He advocated for authenticity and accuracy of the script and time period, therefore he refused to let actors tamper with their own costumes. He also made sure the materials were authentic and specific, using real chain mail, armor, swords, etc. No cheap substitutes would be allowed.<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=358}}</ref> In August 1823, [[James Planché]]'s advocacy for historically accurate Shakespearean costumes revolutionized British theatre, inspiring productions that prioritized realism, especially when it comes to costumes.<ref name=":1" /> In the same year, a casual conversation led to one of Planché's more lasting effects on British theatre. He observed to [[Charles Kemble]], the manager of Covent Garden, that "while a thousand pounds were frequently lavished upon a Christmas pantomime or an Easter spectacle, the plays of Shakespeare were put upon the stage with makeshift scenery, and, at the best, a new dress or two for the principal characters."<ref name="obituary-nyt">Obituary, ''The New York Times'', 15 June 1880, p3</ref><ref>Reinhardt, ''The Costume Designs of James Robinson Planché'', argues that a letter published in ''The Album'', August 1823, pp298–304, signed only 'P', which called for more attention to be paid to the costuming of Shakespeare's plays, and proposed a wardrobe system whereby all locations and periods could be accommodated, was in fact written by Planché.</ref> Kemble "saw the possible advantage of correct appliances catching the taste of the town" and agreed to give Planché control of the costuming for the upcoming production of ''[[The Life and Death of King John|King John]]'', if he would carry out the research, design the costumes and superintend the production.<ref>Obituary, ''The New York Times''. The [[:Image:King John playbill 1823.jpg|playbill]] for ''King John'' states that if the play meets with "approbation and patronage" more of Shakespeare's plays will be performed "Dressed in the same splendid, novel, and interesting style".</ref> Planché had little experience in this area and sought the help of antiquaries such as [[Francis Douce]] and [[Samuel Meyrick|Sir Samuel Meyrick]]. The research involved sparked Planché's latent antiquarian interests; these came to occupy an increasing amount of his time later in life.<ref name="reinhardt526">Reinhardt, ''The Costume Designs of James Robinson Planché'', p526–7</ref> Despite the actors' reservations, ''King John'' was a success and led to a number of similarly costumed Shakespeare productions by Kemble and Planché (''[[Henry IV, Part I]]'', ''[[As You Like It]]'', ''[[Othello]]'', ''[[Cymbeline]]'', ''[[Julius Caesar (play)|Julius Caesar]]'').<ref name="reinhardt526"/> The designs and renderings of ''King John'', ''Henry IV'', ''As You Like It'', ''Othello'', ''Hamlet'' and ''Merchant of Venice'' were published, though there is no evidence that ''Hamlet'' and ''Merchant of Venice'' were ever produced with Planché's historically accurate costume designs. Planché also wrote a number of plays or adaptations which were staged with historically accurate costumes (''Cortez'', ''The Woman Never Vext'', ''The Merchant's Wedding'', ''Charles XII'', ''The Partisans'', ''The Brigand Chief'', and ''Hofer'').<ref name="odnb">{{cite encyclopedia|last=Roy|first= Donald |encyclopedia= Oxford Dictionary of National Biography|date = 23 September 2004|url = https://www.oxforddnb.com/display/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-22351 |title = Planché, James Robinson (1796–1880)|doi= 10.1093/ref:odnb/22351 |url-access= subscription}}</ref> After 1830, although he still used period costume, he no longer claimed historical accuracy for his work in plays. His work in ''King John'' had brought about a "revolution in nineteenth-century stage practice"<ref name="odnb"/> which lasted for almost a century.<ref>Granville-Barker, ''Exit Planché—Enter Gilbert'', p. 107</ref> In 1923 the first of a series of innovative [[modern dress]] productions of [[William Shakespeare|Shakespeare]] plays, ''[[Cymbeline]]'', directed by [[H. K. Ayliff]], opened at [[Barry Jackson (director)|Barry Jackson]]'s [[Birmingham Repertory Theatre]] in [[England]].<ref>{{cite web|first=Sylvia|last=Morris|title=Innovating in Birmingham: Barry Jackson and modern dress Shakespeare|url=http://theshakespeareblog.com/2012/01/innovating-in-birmingham-barry-jackson-and-modern-dress-shakespeare/|work=The Shakespeare blog|date=2012-01-13|access-date=2012-03-21}}</ref> [[File:Cateau Cambrésis012.jpg|thumb|Historical costumes of Le Cateau Cambrésis, France]] Costumes in Chinese theatre are very important, especially in Beijing Opera. They are usually heavily patterned with intense, bright colors. The standard items consist of at least 300 pieces and indicate the actors character type, age and social status through ornament, design, color and accessories. "Color is always used symbolically: red for loyalty and high position, yellow for royalty, and dark crimson for barbarians or military advisors."<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=201}}</ref> Symbolic significance is also found in the designs used for emblems. For example, the tiger stands for power and masculine strength. A majority of the clothing, regardless of rank, is made out of rich and luxurious materials. Makeup is also used symbolically and completes the overall look. In Japanese Noh drama masks are always used and the prominent aspect of the costume. They are made of wood and usually last for generations. There are five basic types: male, female, aged, deities and monsters, all with many variations.<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=206}}</ref> The masks are changed often throughout the play. In Kabuki, another form of Japanese theatre, actors do not wear masks but rely heavily on makeup for the characterizations. Features are exaggerated or removed and for some of the athletic roles musculature is outlined in a specific pattern. Traditional costumes are used for each role, based upon historical garments that are altered for dramatic effect. "Some costumes weigh as much as fifty pounds, and stage attendants assist the actors in keeping them properly arranged while on stage"<ref>{{cite book|last=Brockett, Hildy|first=Oscar G., Franklin J.|title=History of the Theatre|year=2007|publisher=Pearson Education Inc.|location=USA|isbn=978-0-205-47360-1|page=211}}</ref> In the 21st century digital technologies have ushered in a new era of costume design. Traditionally, theater costumers were manually crafted by hand, through sewing and patterns drafted on paper. Now, theater costumes are able to be designed using 3D printers, modeling software and other digital tools to create costumes more efficiently.<ref>{{Cite web |last=McGranahan |first=Jill |date=October 25, 2022 |title=Theatre costumes enter a new dimension |url=https://red.msudenver.edu/2022/theatre-costumes-enter-a-new-dimension/ |access-date=29 April 2024 |website=Colorado news and culture from MSU Denver}}</ref> Utilizing 3D costume-modeling programs and 3D printers allows designers to come up with the most efficient ways to save the amount of materials used on a project.<ref>{{Cite web |last=Boldizar |first=Elyse |date=February 1, 2023 |title=Fashion Design Students Utilize Computer Aided Technology to Virtually Simulate and Fit Garments |url=https://textiles.ncsu.edu/news/2023/02/fashion-design-students-utilize-computer-aided-technology-to-virtually-simulate-and-fit-garments/#:~:text=Computer%2Daided%20design%20(CAD),in%20the%20fashion%20design%20industry. |access-date=29 April 2024 |website=Wilson College News}}</ref> Designers can optimize material usage with design software, and reduce costs through cheaper materials printed from 3D printing. Moreover, these technologies save on time where models can be adjusted in real time to the corresponding feedback through virtual fittings and sewing.<ref>{{Cite web |last=Zheng |first=Pan |date=16 Apr 2022 |title=The CAD Digital Automation Analysis of Costume Designing Based on Immersive Virtual Reality Models |url=https://www.hindawi.com/journals/am/2022/3416273/ |website=Hindawi}}</ref>
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