DOCSLIB.ORG

EXPLORING IDENTITY Emilio Sosa L Costume Designer Michael Griffo L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EXPLORING IDENTITY Emilio Sosa L Costume Designer Michael Griffo L EXPLORING IDENTITY Emilio Sosa l Costume Designer Michael Griffo l Author/Educator ELA, Life Skills, Character Studies Grades l 5, 6, 7, 8, 9, 10 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY BACKGROUND ARTIST INSIGHT As a Latino, I’m influenced by the bright colors that’s evident in my Latin culture. I also grew up listening to great Latin music and being surrounded by aunts and uncles in their Sunday best. I can now look back and use those influences in a modern way. I think that style comes from within, not just the clothing you wear. Style doesn’t come with a price tag; it comes from knowing yourself and what works for you. I have a strong belief that hard work and dedication are the keys to success and that talent rises to the top. Any challenges I come across I’ve been able to overcome because of my strong will to succeed. My advice to anyone who aspires to work on Broadway or in the fashion field is to gain as much knowledge as possible. Whether it’s through formal education or internships knowledge is power. —Emilio Sosa, Fashion and theatrical costumer designer ABOUT THE EXPERTS SPECIAL GUEST: Emilio Sosa is a first-generation immigrant from the Santo Domingo, Dominican Republic, and a graduate of the Pratt Institute. He discovered his passion for design when he was 14 years old and has since achieved his goal of becoming an award- winning fashion and costume designer. In 2006 he was the recipient of the TDF’s Irene Sharaff Young Master Award and named Design Virtuoso by American Theatre Magazine in 2003. He is inspired by historic events which influence his design aesthetic for the stage or the catwalk. Emilio gained national acclaim as a contestant on Season 7 of Project Runway where he won second place and launched Esosa designs with his brother. Since then, he has also served as the costume designer for many Broadway shows and special performance events including Topdog/Underdog, Gershwins’ Porgy and Bess (for which he received a Tony Award nomination), Motown the Musical, Lady Day at Emerson’s Bar and Grill and the Radio City Music Hall Christmas Spectacular. MODERATOR: Michael Griffois an agent at ICM Partners and represents theatrical designers in all five major disciplines - sets, costumes, lighting, sound, and projections. His clients have won Tonys, Drama Desk Awards, Emmys, and Oscars and have designed productions on Broadway, the West End, and at theatres, operas, and ballets all over the world. Michael is also an award-winning playwright and is the author of twelve novels. He received a BA from New York University in Journalism. OFFICIAL SOURCES REFERENCES EMILIO SOSA https://www.instagram.com/esosafashion/ https://www.rockettes.com/blog/insider-qa-costume-designer-emilio-sosa/ https://www.facebook.com/ESOSAdesign/ https://mintmuseum.org/designer-emilio-sosa-to-visit-the-mint-this-month/ https://twitter.com/esosafashion https://hispanicexecutive.com/from-the-runway-to-the-great-white-way/ PHOTO CREDITS: Motown The Musical production photo by Tristram Kenton • Porgy and Bess production photo by Sara Krulwich/The New York Times PAGE 2 of 6 AT THIS STAGE • LESSONS THAT PERFORM FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY Workshop Title: Exploring Identity Host: Michael Griffo, Author, Agent, Educator LESSON Expert: Emilio Sosa, Fashion and Broadway Costume Designer Standards: ELA, Life Skills, Character Studies PLAN Grade Bands: 5, 6, 7, 8, 9, 10, 11, 12 SESSION OVERVIEW Identity is the qualities, beliefs, personality, looks and/or expressions that make a person or a group. Michael Griffo, host of By Design, will speak with acclaimed fashion and Broadway costume designer Emilio Sosa about the visual clues he uses in his designs to communicate information about a stage character. The session will explore the meaning of cultural identity. In addition to getting insight into a designer’s creative and curatorial process, students will learn to observe colors, patterns, and symbols in the world around them that convey emotional, social, and cultural cues. STUDENT OBJECTIVES VOCABULARY STUDENTS WILL BE ABLE TO: culture (noun) the customs, • Explore the ways in which a personal sense of identity is created arts, social institutions, and • Examine their own sense of identity achievements of a particular nation, people, or other social • Discover the rich array of visuals surrounding us that convey group. information • Understand the creative process of researching, conceptualizing, design (noun) a plan or drawing produced to show the look and designing a costume and function or workings of • Analyze how costumes provide clues to character a building, garment, or other ESSENTIAL QUESTIONS object before it is built or made. • How do we define ourselves? identity (noun) the qualities, beliefs, personality, looks and/or • How can a costume designer utilize fashion elements to reveal expressions that make a person aspects of character on stage? or group. personality (noun) the CREATIVE CONTEXT combination of characteristics or Theatre found Emilio Sosa at a young age. When he was 13 years old, he qualities that form an saw a GQ magazine that featured the first man of color on its cover. He individual’s distinctive character. saved his allowance to purchase it and spent time flipping through the pages instinctively knowing that fashion could and would be an outlet for his artistic style (noun) a distinctive talent. Emilio taught himself to sew. He learned a strong work ethic from his appearance, typically parents who were committed to providing a better future for their children. determined by the principles according to which something He is a first-generation immigrant from the Dominican Republic who grew is designed; elegance and up in the Bronx, New York, in the 1970’s and attended the prestigious Pratt sophistication. Institute. He started his career at 21 years old as a shopper buying buttons and threads and sweeping the shop floor at the end of the night. Today he is taste (noun) the ability to designing for his own fashion line called ESosa, as well as Broadway shows discern what is of good quality and other theatrical events—often tapping into his Latin culture, the root of or of a high aesthetic standard. all his designs. STANDARDS ADDRESSED: CCSS [Grades 5-12 • Writing: 2, 4, 7, 9, 10 • Speaking & Listening 1, 2, 4, 5,6] National Core Arts Standards: Anchor Standard 2 • NYC Blueprint - Theatre Making:Designing, Developing Theater Literacy AT THIS STAGE • LESSONS THAT PERFORM PAGE 3 of 6 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY CLASS ACTIVITY DO NOW: Interesting Facts About Me Exercise (10 minutes) Distribute index cards to students. Have each one of them write an interesting fact on the card. Ask them to choose something that other people wouldn’t generally know about them or something that couldn’t be guessed just by looking at them. Collect the index cards. Shuffle the cards and read off each detail, asking students to guess who the fact is from. ASSESSMENT: Ask students about commonalaties they may have noticed among the shared details. Have students share other ways in which our identities are similar and unique. MAIN ACTIVITY: Designing My Character (30 minutes) PART 1: Ask students to create their own character from scratch. Students should recall the aspects of identity discussed during the session and utilize their own ideas about character traits to write up all of the attributes of this character in paragraph form or as a bulleted list. Students should ensure they are as detailed as possible to have many options. PART 2: Challenge students to create a costume for their original character and sketch it out to the best of their ability. Students should be sure their costume reveals the many aspects of their character and should make clear notes on the sketch to explain the important details and connections. ASSESSMENT: Encourage students to share their designs and explain all of the interesting ways in which the small details of their creations revealed important aspects about the character. Students should also explain the inspirations and influences that informed the design. Do Now adapted from: https://www.facinghistory.org/resource-li- brary/identity-and-community/who-am-i Images from: https://www.facebook.com/ESOSAdesign/photos PAGE 4 of 6 AT THIS STAGE • LESSONS THAT PERFORM FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY SESSION NOTES STUDENT NAME: ________________________________ BACKGROUND KNOWLEDGE: What is identity? What makes each of us who we are? MEET THE ARTIST: What did you learn about the processs of costume design? SESSION LESSON: Describe a Broadway costume and detail what it revealed about character: LESSON EXTENSION: What could you utilize in your surroundings to inspire design? AT THIS STAGE • LESSONS THAT PERFORM PAGE 5 of 6 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY REFLECTIONS QUESTION: What events in your life have helped shape your identity? CONNECTION: Interview a member of your family or friends about how their cultural background helped to define their style or taste: APPLICATION: Describe some favorite items in your wardrobe and/or your room that have significance and say something abut you: EXPLORATION: Think about words that would describe aspects of your identity and use them below to complete the “I am:” statements. Explain how each word is part of who you are. I AM _________________________: I AM _________________________: I AM _________________________: I AM _________________________: PAGE 6 of 6 AT THIS STAGE • LESSONS THAT PERFORM.
Load more

Recommended publications
  • Costume Designer Costume Designer
    COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive.
    [Show full text]
  • Costume Designer
    Katherine Milne Costume Designer. Bio Katherine Milne is a Melbourne based costume designer and stylist with over twenty years of experience across film, television and commercials. Her design credits include Killer Elite starring Jason Statham and Robert De Niro, The Whistleblower, set in China and Africa, starring Tang Wei. Most recently she has just completed filming Liam Neeson’s latest film Blacklight, set in Washington DC. Originally from Auckland New Zealand, Katherine began her career on the cult classic TV series Xena and Hercules. Since then she has worked continuously in the film industry on numerous local and International film productions. Katherine excels at managing large scale departments and budgets. She has significant experience with executing speciality costumes and any stunt action costume requirements. Katherine thrives working in the collaborative creative ecosystem of film and television production , embraces each new design challenge and loves to create authentic characters and their worlds through costume. M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. FILM & TV - Experience 1999-2020 BLACKLIGHT - COSTUME DESIGNER Feature Film 2020 Director Mark Williams | Producers , Mark Williams ,Myles Nestel , Paul Currie , Coco Ma | Budget: US$ 46M (est.) REEF BREAK - COSTUME DESIGNER (5 episodes) ABC T.V Series: Touchstone Productions Executive Producers: Poppy Montgomery, Steve Pearlman, Ruthanne Secunda Producer: Guy Louthan THE WHISTLEBLOWER - COSTUME DESIGNER
    [Show full text]
  • Costume Designer for the Youth Theater Ensemble
    Costume Designer for the Youth Theater Ensemble Job Title Costume Designer for TMC’s Youth Theater Ensemble Reporting to Director & Producer Stipend: $350 Hours/Schedule: Starts end of January with Director (See Rehearsal Schedule) Auditions: January 21st - 29th, 2020 Show Dates : May 1st, 2nd & 8th, 2020 The Organization: The Miracle Center's (TMC) mission is to use the performing and visual arts as a tool for personal and professional growth via self-expression for youth and adults. TMC nurtures and encourages the development of the next generation of professional artists by offering them opportunities to perform and exhibit their work. The Miracle Center is a theatre company on the border of the Logan Square and Hermosa communities. Our program is the Youth Theatre Ensemble, and we work with over 50 inner-city teens on three productions throughout the year. What we need is a costume designer is to take the choices our design teens make and compile costumes as close to that as possible.. In terms of the time commitment, we really would only need the costume designers for our initial production meetings, fittings, a few rehearsals to be with the costume students, production meetings and tech rehearsals. You are more than welcome to put more time and energy into the process as our teens could benefit from the mentorship. Job Summary: We are looking for a creative Costume Designer to create costumes and costume props for the actors on stage. As the Costume Designer, you must be very creative and well-versed in different garment types and styles. You should be talented at sketching and see creating clothes as art.
    [Show full text]
  • Costume Design: Key Questions
    Costume Design: Key Questions Costume designer and architect Gabriela Yiaxis worked with Whitechapel Gallery Children's Commission 2015 artist Rivane Neuenschwander on the exhibition The Name of Fear. Gabriela is an experienced freelance costume designer who works worldwide on feature films, advertisements, TV, fashion and music. In this resource she shares key questions and the process of taking a costume from script to screen. Rivane Neuenschwander: The Name of Fear 2015 Costume Design: Key Questions Costume designer Gabriela Yiaxis shares some of her key considerations when developing costumes for feature films. Think about how all of these questions effect what you see on screen, some of these questions can also be applied to developing costume for theatre, advertising campaigns and catwalk collections. Setting What is the story about? Is the film contemporary, futuristic, epic, period? Which exactly era? Does the storyline have a fantasy or realistic approach? How does the director wants to tell the story? Funny, realistic, surreal? Will the film be shot in black and white, sepia, colour? Who is the audience for the finished product? Costume Design: Key Questions Building a character Examples of questions you should ask yourself when they are not on a script . How old are they? Is the character rich or poor? What is their social status? Aristocracy, working class, middle class? What is the characters family background? Are they from a traditional family background, alternative family background, single parent household, grew up in care? What is the characters role in the story? Banker, waitress, doctor, athlete, writer, homeless, musician, salesman, criminal? Consider how the characters personality affects the costume.
    [Show full text]
  • 2021 Permittee Information Book
    IATSE LOCAL 856 500-332 Bannatyne Avenue Winnipeg, MB R3B 2M3 Phone: (204) 953-1100 FAX: (204) 953-1109 Website: www.iatse856.com Permittee Information Package For IATSE Local 856 International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada All Applicants must provide proof of successful completion of WHMIS & SET ETIQUETTE Please contact Film Training Manitoba @ 204-989-9669 www.filmtraining.mb.ca /Volumes/Server/Administration/Applications-Form Letters & Information/Permittee Information/2015 Permittee/Permittee Information Package.doc Revised April 2019 IMPORTANT INFORMATION FOR OBTAINING PERMITTEE STATUS WITH IATSE LOCAL 856 This is also an information resource for permittees who are new to I.A.T.S.E. Local 856 and who will be placed on the availability roster that is used for filling work positions. This infoRmation package will define the application pRoceduRe foR Permittee status with IATSE Local 856. Specific depaRtment qualification foRms aRe RequiRed to be completed and returned along with your application form. PREVIOUS EXPERIENCE IS A REQUIREMENT. YOU MAY SUBMIT UPDATED RESUMES AS YOU GAIN NEW EXPERIENCE. RESUMES AND APPLICATIONS ARE USUALLY REVIEWED EVERY THREE TO FOUR MONTHS. YouR chances of being considered for Permittee status and work will be greatly increased if you have curRent production experience – preferably television, theatRe, commercials, documentary, or independent production credits. IF YOU DO NOT HAVE ANY TRAINING OR DIRECT EXPERIENCE IN YOUR FIELD OF CHOICE: • FamiliaRiZe youRself with the job descRiption and the qualifications RequiRed of the DepaRtments that you wish to apply to. • Contact Film Training Manitoba at 989-9669 Regarding TRaining ProgRams.
    [Show full text]
  • FILM 5 Budget Example
    TFC Production Budget-DETAIL Title: My FILM 5 Movie Budget Dated: 22-Aug-18 Series: Medium/Format: Prodco: Length: 5 mins Location/Studio: Halifax 01.00 STORY RIGHTS/ACQUISITIONS Acct Description CASH 01.01 Story Rights/Acquisitions (0) 01.95 Other (0) TOTAL STORY 01.00 (0) RIGHTS/ACQUISITIONS 02.00 SCENARIO Acct Description # # Units Unit Rate/Amt CASH 02.01 Writer(s) 1 1 --- 0.00 (0) 02.05 Consultant(s) 1 1 --- 0.00 (0) 02.15 Storyboard 1 1 --- 0.00 (0) 02.20 Script Editor(s) 1 1 --- 0.00 (0) 02.25 Research 1 1 --- 0.00 (0) 02.27 Clearances/Searches 1 1 --- 0.00 (0) 02.30 Secretary 1 1 --- 0.00 (0) 02.35 Script Reproduction 1 1 --- 0.00 (0) 02.60 Travel Expenses 1 1 --- 0.00 (0) 02.65 Living Expenses 1 1 --- 0.00 (0) 02.90 Fringe Benefits 0.00 % 0 (0) 02.95 Other 1 1 --- 0.00 (0) 02.00 TOTAL SCENARIO (0) 03.00 DEVELOPMENT COSTS Acct Description CASH 03.01 Preliminary Breakdown/Budget (0) 03.05 Consultant Expenses (0) 03.25 Office Expenses (0) 03.50 Survey/Scouting (0) 03.60 Travel Expenses (0) 03.65 Living Expenses (0) 03.70 Promotion (0) TFC0208-0612 Page 1 of TFC Production Budget-DETAIL 03.95 Other (0) 03.00 TOTAL DEVELOPMENT COSTS (0) 04.00 PRODUCER Acct Description # # Units Unit Rate/Amt CASH 04.01 Executive Producer(s) 1 1 --- 0.00 (0) 04.05 Producer(s) 1 1 --- 0.00 (0) 04.07 Line Producer(s) / Supervising Prod.(s) 1 1 --- 0.00 (0) 04.10 Co-Producer(s) 1 1 --- 0.00 (0) 04.15 Associate Producer(s) 1 1 --- 0.00 (0) 04.25 Producer's Assistant 1 1 --- 0.00 (0) 04.60 Travel Expenses 1 1 --- 0.00 (0) 04.65 Living Expenses 1 1 --- 0.00
    [Show full text]
  • From Live Theatre; Do Not Involve Special Manipulation W/ the Camera; E.G
    17 Visual Special Effects 1. Stage Effects--from live theatre; do not involve special manipulation w/ the camera; e.g.: * makeup (e.g., latex bladders) * puppets * "men in suits" * mechanical devices/robots * rear-screen & front-screen projection * models/miniatures--(slightly optical??) 2. Optical Effects--optical equipment (i.e., cameras, optical printer) is used to manipulate images; e.g.: a. Motion effects-- * stop motion animation * manipulations of movement (slo-mo, fast-action, reverse motion, freeze frame) b. “In the can” (in the camera) shots-- * glass shots * forced perspective c. Composite shots-- * double exposure * mattes, matte paintings * greenscreening (or, bluscreening) 18 3. Digital Effects--computer required, e.g.: * computer composite shots * computer-generated images (CGI--images that never existed outside of the computer; including digital mattes) * morphing ALSO: * motion-control cinematography Note: Rear- and front-screen projection, matting (with and without greeenscreening), glass shots, forced perspective, and digital effects can have very similar results. Very often, even I can’t tell! 19 The Film Crew Roundup * Producer * Director * Screenwriter * Film editor * DP * Cinematographer * Camera Operator * Steadicam Operator * Production Designer * Art Director * Set Designer * Grip (like a stagehand--work with flats, dolly tracks, other carpentry) * Key Grip (head grip) * Gaffer (electrician/light set-up) * Best Boy (apprentice, to one of the various trades) * Set Dresser * Matte Artist * Greensman * ADR Editor * Foley artist * Visual Effects Supervisor * Location Manager * 2nd Unit . and the rest (e.g., Costume Designer, Casting, Makeup) . also, the role of unions and professional organizations: e.g., Screen Writers Guild, ASC (American Society of Cinematographers), ACE (American Cinema Editors), Teamsters, IATSE (International Alliance of Theatrical Stage Employees), SAG (Screen Actors Guild) 20 Avant-garde film Avant-garde means “leader of the movement”--these films are extreme .
    [Show full text]
  • Standard Operating Procedures
    THEATRE UCF PRODUCTION HANDBOOK UPDATED AUGUST 2019 Revisions to this Handbook All Departmental Handbooks are revised at the beginning of every academic year and occasionally during the academic year. If you would like to propose a revision to this handbook, please compose a letter to the Production Manager. In your letter, outline the change you propose and the reason for your proposal. UPDATED SECTIONS FOR 2019 While it is best to always review the entire handbook every year for small updates, returning students should pay special attention to these larger sections which have been substantially updated for 2019: No substantial changes have been made for 2019 UPDATED SECTIONS FOR 2019.................................................................................................................................. 1 INTRODUCTION ............................................................................................................................................................... 4 SPHERES OF RESPONSIBILITY FOR PRODUCTIONS ......................................................................................... 5 GENERAL PRODUCTION POSITION DESCRIPTIONS ........................................................................................... 5 Artistic Team: .................................................................................................................................................................. 7 Assistants for all areas:............................................................................................................................................
    [Show full text]
  • Who Makes a Film?
    Development Production management Casting Follow the Producer Director Screenwriter director Line Locations Assistant arrows to find producer manager director out how an idea becomes Turning an idea into a script Careful planning and organisation a film... Technical Craft Director of Gaffer Grip Sound mixer Script Production Costume Hair and make-up Construction Special effects photography supervisor designer designer designer manager designer Making sure it all gets captured perfectly Creating the look of the film Making sure it all gets perfectly captured Post-production Sales and distribution Distribution Marketing Editor Colourist Sound editor VFX Subtitler Programmer producer executive manager Audience Shaping and polishing the final product Selling the film and making sure people see it (you and me) Who makes a film? Production designer Editor How a fi lm is made Who makes a fi lm? The production designer decides how the fi lm The editor puts together all the rushes from will look, everything from the art on the titles the various scenes to tell the story in the Everyone likes watching a good fi lm whether they Producer to the props and the style of the sets. best way. see it at the cinema, on TV or on their phones. But The producer is the boss. Producers are not everyone knows how a fi lm is made. This is how a responsible for the whole production. They Costume designer Colourist raise the money and hire the director. The costume designer designs or buys the Films are shot in a way that makes it fi lm goes from being a thought in someone’s head to costumes.
    [Show full text]
  • ENEMY LINES Production Notes
    ENEMY LINES Production Notes On Demand: April 24, 2020 Directed by: Anders Banke Produced by: Tom George, Andy Thompson Screenplay by: Michael Wright Starring: Ed Westwick, John Hannah, Corey Johnson, Tom Wisdom Runtime: 90 minutes Rating: NR Synopsis: November 1943. A British commando squad is teamed with an American officer on a covert mission into Poland, deep behind enemy lines. Working with the resistance, they cross the harsh wilderness intent on kidnapping and extracting a sought-after Polish scientist, Dr. Fabian, from the Germans. Website: https://gooddeedentertainment.com/enemy-lines/ Key Still Set: https://www.dropbox.com/sh/m44kkitikk6o1f0/AABcuac3EG2NrPMWw4oUw5hga?dl=0 Instagram and Twitter: @enemylinesmovie You Tube Trailer Link: https://youtu.be/xyYcuvAaTDM For additional information please contact: Good Deed Entertainment Kristin Harris - [email protected] - 310.795.7631 About the Film November 1943. A British commando squad is teamed with an American officer on a covert mission into Poland, deep behind enemy lines. Working with the resistance they cross the harsh wilderness intent on kidnapping and extracting a sought-after Polish scientist, Dr. Fabian, from the Germans. Fabian is known to hold information on secret innovations that would prove vital to the Allied efforts. With a German hunter unit on their tail and a Russian squad also intent on kidnapping Fabian for their own ends, it becomes a race against time, that for the winners, will change the shape of the war. Director’s Statement I'm a lifelong military history buff with a special interest in WW2, and so this wintery classic adventure tale, behind Enemy Lines, about a subject rarely covered was impossible for me to say no to.
    [Show full text]
  • Download Pdf Version
    CARMENArtist, Costume Designer THOMPSON & Builder, Producer, Writer Multi talented and highly creative Indigenous professional with over 20 years of onset film experience. Cultural Liaison, Costume Designer and Costume Builder, Creative Director responsibilities with three of the top Indigenous production companies in North America. Inventive and passionate creator specializing in costume building and design, marketing and graphic representations. Exceptional collaborative and interpersonal skills able to work with Directors, Producers and Actors and diverse teams to bring creative concepts to life. Accustomed to performing in deadline-driven environments with an emphasis on working within budget requirements. AWARDS & ACHIEVEMENTS CONTACT Inheritance: a pick-the-path experience- Jessie Award for Significant Artistic Achievement Based in Victoria/Vancouver, BC Red Snow- Nominated for 10 Leo Awards including Best Costume Design Valid Passport, Green Card for U.S. 1491: The Untold Story of the Americas Before Columbus- won 3 Leo Awards Super Bingo- Nominated for Leo for Best Costume Design Short Drama Christmas Calendar- Nominated for Leo for Best Costume Design Drama [email protected] Legends of the Hidden Temple- Nominated for Leo in Best Costume Design in a Television Movie www.tlakwadesigns.com Rolling- Prism Award and a San Fransisco Audience Award COSTUME DESIGNER www.imdb.com/name/nm1977419 What’s The Matter With Alice - Television Movie - Nick Humphries, Director. Thriller Under A Lovers Moon - Television Movie - Danny Boyle, Director SKILLS Kiri And The Dead Girl - Short Film - Grace Dove, Director. 1980’s, Pow Wow Love On A Vine - Television Movie - Lucie Guest, Director Highly skilled Indigenous Costume Builder Inheritence - Theatre - Herbie Barnes, Director - Documentary Theatre - Britt Small, Director Educated in several Indigenous cultures in God’s Lake North America/Canada/US, Mexico, Peru & Missing - Opera - Marie Clements, Playwright, Peter Hinton, Director.
    [Show full text]
  • Production Handbook
    PRODUCTION HANDBOOK Department of Theatre and Dance Winona State University 2012 To the Student: This handbook is the official guide to the policies, procedures and responsibilities associated with productions sponsored by the Department of Theatre & Dance at Winona State University. It contains guidelines, not rules written in stone. In order to work effectively on these productions, you should become thoroughly familiar with its contents. The three basic rules of theatre at WSU are: (a) If it isn't clear, ask! (b) Do what you promised to do, and do it on time! (c) Have fun! TABLE OF CONTENTS Section Title Page 1 The Department of Theatre & Dance ………………… 1 2 The Company …………………………………….… 3 Company Rules ……………………………….. 6 Guidelines for the Six-Week Rehearsal Period … 8 Principles of Season Selection ……………… 10 3 Guidelines for the Performer ……………………………. 12 Notes for the Acting Audition …………… 15 4 Guidelines for the Stage Manager ……………………… 17 How to Call Cues ………………………… 20 Pre-Show Checklist ……………………… 20 5 Guidelines for the Assistant Stage Manager ……………. 23 6 Guidelines for the Student Scenic Designer ……………. 25 7 Guidelines for the Assistant Technical Director ………… 27 8 Guidelines for the Scenic Artist …………………..…… 29 9 Guidelines for the Properties Designer ………………… 31 10 Guidelines for the Props Supervisor …………………… 34 11 Guidelines for the Lighting Designer ………………….. 36 12 Guidelines for the Master Electrician ………………….. 38 Troubleshooting Procedure ……………… 40 13 Guidelines for the Light Board Operator ……………….. 41 14 Guidelines for the Sound Designer ……………..……… 42 15 Guidelines for the Sound Board Operator ……………. 44 16 Guidelines for the Student Costume Designer …..…….. 46 17 Guidelines for the Wardrobe Supervisor ……..………… 48 18 Guidelines for the Makeup Designer ………………….
    [Show full text]