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Compilation, original and editorial matter © Ali Maclaurin and Aoife Monks 2015 For copyright information on individual readings see the acknowledgements on page vii All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE Palgrave in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of 4 Crinan Street, London N1 9XW. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is a global imprint of the above companies and is represented throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–02949–2 hardback ISBN 978–1–137–02948–5 paperback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress.

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Contents

List of Illustrations vi Acknowledgements vii Series Preface ix

Introduction 1 Aoife Monks 1 Writing about Costume 7 Ali Maclaurin An interview with Jenny Tiramani 19 An interview with Mark Thomson 28 2 The Stage Picture 36 Ali Maclaurin An interview with Simon Annand 55 An interview with Alex Rigg 61 3 Virtuosity, Craft and Technique in the Work of Costume 69 Aoife Monks An interview with Lois Weaver 92 An interview with Lez Brotherston 99 4 Playing the Body: Costume, Stereotypes and Modernity in Performance 104 Aoife Monks An interview with Tina Bicat 128 An interview with Stewart Laing 133 5 Artists and the ‘Scenic Body’ 141 Ali Maclaurin

Bibliography 162 Index 170

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Introduction

Aoife Monks

On 8 January 2013, the UK’s Grazia magazine ran a story entitled ‘[…] The Dos and Don’ts of Stage Door Chic’. Referring to the post-show appearances of actors like Katie Holmes and Jessica Chastain, the magazine offered its readers ‘a list of easy-to-follow rules for successful stage door dressing’. With advice like ‘DO get noticed in bright red’ and ‘DON’T wear sunglasses at night’ (Grazia, 2013), the magazine failed to notice that what they termed the ‘the vintage hipster look’ of the British actor Anna Friel was in fact a clear reference to her leading role in the West End (London) production of Chekhov’s Uncle Vanya, from which she emerged nightly to the frenzy of the paparazzi. Friel, wearing heavily embroidered dresses, fake fur wraps and Cossack-style boots matched her backstage appearances with her onstage persona while ensuring that, according to the Daily Mail newspaper, she looked: ‘every inch the star’ (Daily Mail Reporter, 2012). Attention to the backstage appearance of actors is nothing new. By the end of the nineteenth century, with the emergence of the mass media, reports of the fashion worn by actors at the stage door, or on the street, began to emerge as a companion narrative to descriptions of actors in costume onstage. For Friel to dress herself in contemporary fashion backstage with resonance for the period costume she wears onstage is to maintain the cultural status of the actress as a ‘trendsetter and role model’ (Schweitzer, 2009, p. 8). We might ask, how- ever, what the relationship is between Friel’s street clothes and her costume, and what exactly it is we are looking at when we see an actor dressing up at the theatre. This photograph of Friel raises some interesting questions about the peculiar work that costume does at the theatre. Often overlooked by scholars and critics as an important aspect of both acting practice and scenography, costume works as a bridge between the actor’s body, the environment of the stage and the spectator in the auditorium. Costume most obviously forms the interchange between actors and the fictional characters they play, but, as we’ve seen with Friel, it may work simultaneously to frame and reinforce the actor’s own star persona or association with previous roles. At the same time, the costume also works as a link between the actor and the scenographical environment of the stage, situating performers within a series of aesthetic and spatial structures. These scenographical choices may also function to place the actor’s body within a particular historical milieu,

1

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2 COSTUME or position the actor’s body within a broader set of ideas about the nature of the ‘body’ and embodiment more generally. Finally, the costume may also work as a bridge between the actor and the audience in how it situates the actor within systems of fashion, categories of social identity (such as gen- der or class) or social relations of power. By focusing on costume for this Reader, we are really probing how the various languages of the stage and the systems of belief and value in the auditorium meet within the object of costume. Examining costume, then, means understanding the interchange between the work of the performer, the design and craft of the costume designer, and the experience of the audience at the theatre. It’s important to emphasize, however, that these various aspects of costume don’t present themselves sequentially onstage. Rather, a single stage costume is capable of enabling all of these exchanges between actor and character, actor and scenography, and scenography and audience. Returning to Anna Friel in Uncle Vanya can help us to trace out the multiple ways in which costume works at the theatre. In an onstage photograph of Friel in role, we see her wearing a long white lace dress and gloves in the style of the 1890s, with her hair up, holding a cream parasol and the ropes of a swing. The image suggests that Friel is in character, playing the role of Yelena, the young second wife of Aleksandr, a professor, and the object of love and desire for the other male characters in the play. We also see her wearing a costume that is claiming a certain kind of historical authentic- ity, positioning Friel’s body within the milieu that the play is set in, and providing a visual pleasure that may retain an autonomy from the fictional narrative – we may enjoy looking not only at Yelena in her everyday dress but also enjoy looking at Friel dressed up in an appealing costume that has been designed based on 1890s fashion, playing into forms of nostalgia and longing for the past, emphasizing the role that costume plays in provid- ing visual pleasures at the theatre, pleasures that are often tied to nostalgic longing for other times. If we look at a photograph of Friel leaving the stage door after the show has ended, we see a kind of ‘negative’ image of her onstage costume, with Friel now dressed in a heavily embroidered short black dress, with a fur collar and her hair down. While the dress is clearly contemporary it also makes reference to a generalized ‘Russian’ aesthetic of embroidery and fur. Here we see the actor using clothes to present her ‘real self’ after the show has ended. But the fact that her modern clothes are ghosted by the period costume that she wore onstage and the fact that she is being photographed by paparazzi after the end of the performance make reading her appearance more complicated. It’s clear that her star persona is being formed through her choice of clothing – she becomes the means to stage the clothes, while at the same time the clothes stage her celebrity status as an icon that forms its own sort of spectacle. The ‘Russian’ styling of her clothing also suggest that Friel might want us to see her as infected by her costume and character, rendering her body decorative and appealing through its connection back

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INTRODUCTION 3 to the pictorial qualities of her stage role. Friel’s ‘real’ clothes turn out not to be ‘real’ at all, but are in fact working as an extension of the logic of cos- tume by organizing the actor’s body within hierarchies of celebrity and past performance. The poster publicizing the show demonstrates another function of cos- tume, in how it organizes Friel as a member of an ensemble of actors. With the headline of the poster describing the show as ‘the theatrical event of the season’, Friel is shown from the shoulders up, with long straight hair in black modern dress, surrounded by her fellow actors. The image clearly delineates the performers as individuals, with the names of each star performer (Friel, Samuel West, Ken Stott, Laura Carmichael) listed above the play’s title on the poster, while also organizing them as a collective through their shared use of modern costume. The show’s poster, in its focus on the actors’ faces, seems to want to emphasize the personalities of the actors, rather than the characters, asserting the presence of the actors over the story by Chekhov, or the vision of the director or scenographer. Nonetheless, the fact that the actors have been styled to look uniform in their shared colour palette and composition also indicates that their bodies are organized in relation to each other, that they will be bound as a collective by a coherent and unified stage picture. The work of costume to produce visual coherence within a scenographical logic emerges here as another function of the clothing worn by Friel. The contrasts and connections between these three images raise some important questions about the nature and role of theatre costume. They prompt some consideration of what historically accurate clothing is imag- ined to achieve onstage, asking us to interrogate the relationship between the actor’s body, the fictional world of the play, the social milieu in which the play was written and the pictorial pleasures that the presentation of this milieu might provide for the audience. The use of a collective styling for the four actors in the ensemble might also ask something about the role that costume plays as a function of the mise en scene. This leads to a considera- tion of the work of the director and scenographer in producing a ‘unified’ stage picture, in which costume works to render the actor’s body a form of visual spectacle or a function of the broader scenic concept. Costume then may become variously the means to situate an actor as the vehicle for a fictional character, the means through which an imagined historical authenticity can be accessed or a key aspect of how a scenographic vision for a production is made manifest. Of course, within these various and interlinking modes of costume can be found the work of the designer, maker, dresser, props-maker and all the labour it takes to produce the fabric, lace, buttons, etc., that make up these costumes. The role of these workers in producing the costume that Anna Friel embodies as Yelena may not be fore- most in the experience of the audience, however. Rather, the costume may be received as ‘inevitable’, as fictional as Chekhov’s character, rather than being literally material, produced by hard work and expertise backstage, and

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4 COSTUME performed with hard work and expertise by Friel herself. The material quali- ties of the costume, and the work that it takes to make that costume, may be disavowed within the experience of the audience watching the performance. Of course, we can also see the work that costume does in producing and depicting identity onstage. We can see here a performed version of gender, in which the character of Yelena and her clothes, and the body of Friel and her costume, produce and imagine forms of femininity and class privilege. But there is also another identity being produced here, which is that of ‘Anna Friel’. The costume determines how Friel’s celebrity ‘self’ is being presented and reinvented by her appearance in the play. Friel’s previous roles: her scandalous turn as a lesbian character in the British television soap opera Brookside, her previous appearance at the Theatre Royal Haymarket as Holly Golightly in Breakfast at Tiffany’s (2009), her longstanding appearances in the gossip columns of the British tabloids, these previous personae are remoulded and consolidated by presenting her as a decorative love object in period dress in Chekhov’s play, enabling a further interchange between the system of costume on the stage and the system of fashion that Friel enters when she leaves the theatre.

MAPPING THE BOOK

This example of Anna Friel in costume onstage and off suggests that costume should not be viewed merely as clothing for characters. Rather, costume plays an intricate role in organizing the relationship between the actor’s body and the character’s body, the audience’s historical moment and the moment of the fictional world and the actor’s persona and the ways in which that persona might be reimagined or remoulded through the perfor- mance. These varying modes of embodiment often require a disavowal of the actual labour it takes to make these costumes and indeed to wear them onstage. An actor appearing in costume onstage may enact a disjunction between the material conditions of producing the stage illusion and the audience’s experience of consuming the costumed body in the auditorium. Equally, costume may function to organize the actor’s body in relation to a mise en scene that acts as a screen for the director or scenographer’s vision, controlling the stage environment through the principles of visual coher- ence. Costume may also be a means for theatre artists to renegotiate images of the body in order to critique the bourgeois theatre system’s imbrication in systems of fashion or to offer new visions of embodiment or new versions of identity to its audience. The systems through which costume is produced, as well as how it is worn, tell us much about the politics and meanings of the theatre event, and this book aims to investigate these various forms of, and approaches to, costume. The book therefore engages with costume from multiple perspectives, thinking about its relationship to historicism and modern dress; examining its role onstage for actors and backstage in the

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INTRODUCTION 5

‘craft’ work of designers; thinking about the work it does to produce, rein- force or deconstruct systems of identity; and considering the role it played for designers of the twentieth century in renegotiating ideas of embodiment and structures of power. This book is written from two perspectives: the approach of the costume designer, Ali Maclaurin, and the approach of the theatre scholar, Aoife Monks. We hope that these combined perspectives will open out the complicated web of functions, meanings and forms of work that theatre costume constitutes onstage and off. Intermixed with chapters on costume are interviews with a range of theatre artists: designers, makers, performers, directors and photographers. These voices help to offer further perspectives on the wide range of approaches to designing, making, wearing and photo- graphing costumes. The first chapter, written by Ali, offers an overview of the relatively lim- ited books, articles and resources available for the study of costume design. In Chapter 2, she investigates the role of costume within the stage picture. Even as costume may appear to be indelibly and uncannily fixed to the body of the actor, indeed constituting the actor’s and character’s body for the duration of the performance, as Ali outlines, the role of costume in produc- ing a unified stage picture varies considerably. Modern dress productions, for example, carry with them a freight of ideological values that may be ren- dered invisible by the ‘natural’ and taken-for-granted qualities of modern clothing. By contrast, historically accurate costume may play into forms of nostalgia for the past, or alternatively may offer audiences a distanced posi- tion from which to examine the implications of the play and its performance, denaturalizing hidden assumptions about power relations and identity. The third chapter, written by Aoife, traces the varying ‘appearance’ of costume within the different frames of the theatre event. Examining the uncanny status of costume as a material object that works to produce appar- ently immaterial effects, the chapter takes the specific example of Mark Rylance’s performance as Hamlet at the Globe theatre in 2000, in order to think about how costume is understood and used differently by critics in the auditorium, by actors in the rehearsal room, by dressers, stage managers and prop makers backstage and by the designer Jenny Tiramani and the numer- ous costume makers that she works with in the wardrobe. The chapter inves- tigates the categories of ‘virtuosity’, ‘technique’ and ‘craft’ to suggest that, while the classical Shakespeare tradition in Britain often imagines backstage labour as working in ‘service’ to an evanescent and immaterial illusion, in fact the work done by makers and actors also retains a system of values that is independent from the audience’s experience of costume in the auditorium. The fourth chapter, also by Aoife, focuses its attention on the body of the performer, in order to consider the role that costume may play in reflecting, imagining and consolidating hierarchies of identity through the production of stereotypes in performance. Focusing largely on nineteenth- century theatre, the chapter acknowledges the role of costume and make-up

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6 COSTUME in constructing stereotypes such as the blackface minstrel and the stage Irishman. However, the fixity of these images can also become destabilized by the fluid relationship between the performer’s body and the costume that they wear to produce these images of identity on the stage. The chapter goes on to consider the modernist critique of theatre stereotypes in the work of the Irish-American playwright Eugene O’Neill and the ways in which the postmodern theatre company, The Wooster Group, reimagined his work in the 1990s by suggesting that theatrical representation has become an inescapable reality. The fifth chapter, by Ali, moves from the actor to the auteur in the role that modernist and avant-garde costume designers played in reimagining the body and the ensemble in the nineteenth century. Examining the ways in which these experiments in costume worked to conceal the actor’s body, or eradicate it altogether, the chapter moves on to look at the ways in which groups of bodies can be organized through the use of costume. Throughout the book, we offer a series of interviews with theatre artists who represent a very wide range of theatre forms and design practices. The book starts with Jenny Tiramani, the head of design at Shakespeare’s Globe Theatre, whose intricately researched and designed Renaissance costumes are discussed in Chapters 2 and 3. By contrast, Mark Thomson, the artistic director of the Royal Lyceum Theatre in Edinburgh, offers a sense of costume as character-driven and centred on a modern dress aesthetic. Simon Annand discusses his longstanding project of photographing actors backstage in their dressing rooms and the kinds of insight this brings into the actor’s relation- ship to costume and work. The performance artist Alex Rigg views costume as a productive obstacle, in which choreography is produced through the artist’s struggle with the object of costume. Lois Weaver, part of the feminist- lesbian duo Split Britches, offers another approach to costume in the ‘found object’, where the DIY aesthetic of her work functions in conversation with its gender politics. Lez Brotherston’s approach to costume emerges from an entirely different aesthetic tradition, with his designs for the large-scale dance pieces choreographed by Matthew Bourne, giving a sense of how budget and time limitations become a productive set of constraints in the collaboration between choreographer and designer. Finally, Tina Bicat dis- cusses her designs for the site-specific theatre company Punchdrunk, par- ticularly emphasizing the collaborative relationship between her work and that of the performer. The similarities between her designs on The Masque of the Red Death, where audiences wore masks and cloaks, and Stewart Laing’s work with Salon Project, which costumes the audience in full period even- ing dress, finish the book with the question of what audiences wear to the theatre. This image of the audience dressing up leaves us with the overall questions of this Reader: when audiences sit in the auditorium and watch an actor in costume, what exactly do they experience? Who has made the costumes and why? And what are the multifarious, complicated and often contradictory roles played by costume at the theatre?

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Index

aesthetic dress, see dress reform Brook, Peter 17, 47, 153–4 Alma-Tadema, Lawrence 52 Bryant, Dan 114–18 accessories 39, see also hats, cloaks, budget 101, 131 hose Bury, John 17, 53 accuracy, historical 8–14, 23–8, 47–52, Butler, Judith 107–8 54, 159 Alleyn, Edward 38, 42 Cave, Nick 148 Apollinaire, Guillaume 142 character 14, 31, 34, 38, 40, 41, 42, 43, Arnold, Janet 10, 12, 21, 27, 54 44–7, 58–9, 60, 66, 105, 118, 126, 141, authenticity, historical 14, 23–4, 51, 148, 150, 152 54–5, 105, 137, 158 Chekhov, Anton 1–4 avant-garde 17, 119, 146 chorus 26, 104–5, 108, 152–60 class 105 Bacchae, The 152, 154 cloak 38, 42, 128, 132, 159 backstage labour 3, 71, 80–92 construction 11–14, 16, 27, 50, 145, 147, Bakst, Leon 16, 20 150 Balla, Giacomo 18, 142–4 Constructivists 142, 151 ballet 100–3, 120, 123, 125, 126, 128, copper, copper lace 41 144, 151, 159 costume drawing 10, 11, 12, 14, 15, 16, Ballet Russes 144, 160 22, 26, 27, 38, 42, 49, 63, 65, 67, 145, Barker, Harley Granville 142 160 Barthes, Roland 17, 36 craft 23, 33, 39, 61, 74, 81–2, 87–91, 134 Barton, Lucy 13–14 Craig, Edward Gordon 18, 142, 144, Bauhaus 142, 146 151, 160–1 Behn, Aphra 39 crowd, see chorus Bernard, Bayle 111 Cubist 142, 145, 147, 152 Birmingham Repertory Theatre curtain call 91–2 (Birmingham Rep) 20, 44–6 cut and cutting 7, 11–14, 22–3, 27–8, 30, Black Watch 158–9 53–4, 65, 143, 156 blackface 114–27 BLOOLIPS Theatre Company 92, 96 dance/dancer 16, 60, 61, 64, 115, 116, body 17, 22, 36, 64, 104–5, 106, 108, 9, 125, 128, 129, 144, 145, 146, 148, 151, 116, 119, 120, 121, 122, 125, 126, 127, 157 129, 130, 132, 141–2, 144–9, 151, 152, Dance Theatre 99 153, 161 Delaunay, Sonia 18 Boucicault, Dion 109–14 Depero, Fortunato 143–5 Arrah Na Pogue 109, 115 designer 7, 14, 16, 17, 18, 19, 20, 21, 25, Colleen Bawn 109–10, 112, 114 26, 30, 31, 32–3, 35, 37, 45, 46, 49, 52, Bourne, Matthew 99–103 53, 57, 128, 133, 134, 135–6, 137, 139, Branagh, Kenneth 20 142, 145, 146, 148, 152, 159 Brook, Iris 14 Diaghilev, Serge 144–5

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INDEX 171

Diderot, Denis 48 Godwin, E.H. 18, 52 director, role of 48, 134, 139, 152, 154 Goethe, Johann 48, 128, 131 disguise 42, 63, 115, 118 Goldsmith, Oliver 46 doubling 42 Gropius, Walter 146 drafting, see cut and cutting drag 96, 125–6 Hall, Peter 35, 47, 53, 152 drawing, see costume drawing Hamilton Smith, Charles 51, 52 dress history 8, see also historical Hamilton Smith, Emma 52 dress, historical costume, historical Hands, Terry 38 accuracy Harris, Margaret ‘Percy’ 14 dress reform, 17, 47 Harris, Sophie 14 dressing up 11, 24, 29, 36, 56, 58, 157 hats 24, 39, 54, 58, 110, 111, 115, 145 Dryden, John 39 Haywood Gallery 17 Henry VIII 23, 26 El Lizzitsky 146 Henslowe, Philip 38–9, 41, 84 Emil and the Detectives 159 Hill, Aaron 48 ensemble 141, 149–50, see also chorus historical costume 8–13, 15–16, 36–7, environment 46, 48, 106, 120, 122, 134, 47–52, 159, see historical dress, 139, 141, 148, 161 dress history, historical accuracy, ermine 40, 41, 53, see also fur historical authenticity eroticism 97, 105 Historical Dress 2–3 Exter, Alexandra 150–2 Historical Dress, School of 13, 19, 20, extras 51, 52, 135–6, 154 27 historicism 37, 43, 50 fabric 23, 25, 27, 41, 42, 50, 52, 54, 64, hose 39, 54, see also accessories 131, 137, 147, 148, 152, 160 Hot Peaches Theatre Company, 92, 93, Fairholt, F.W. 9 95 fancy dress 9–10, 11, 52, 53, 135, 157 Howard, Pamela 18 fashion 1–4, 7, 10, 11, 12, 13, 15, 17, 18, human body, see body 34, 45–6, 48, 60, 111, 113, 133–4, 142, Hunnisett, Jean 12–13 156 fashion theory 16, 17 Ibsen, Henrik 44, 46, 60 Freud, Sigmund 69 immersive theatre 158 Friel, Anna 1–4 imperialism 105 frippers, fripperers 39, 40 Irving, Sir Henry 10, 47, 52 fur 26, 39, 40, 52, 148, 153, see also ermine Jackson, Barry 44–6 Futurists 142–5, 147, 151 jeans 36, 37, 38, 59 Futurists, The 57 Jefferys, Thomas 8 Jerrold, Douglas 51 Garrick, David 8, 47, 49 Jones, Inigo 8, 48 gender 4, 37, 44, 47, 107, 108, 120–7, Jones, Robert Edmund 16, 17, 52–3, 138, 148, 163, 166 155, 157 geometric 22, 142, 145, 147–9, 151, Jonson, Ben 155 159 Tamburlaine 41 ghosts 82–3, 126 journalism 76–9 Gielgud, Sir John 141 The Globe Theatre 38 see also Kean, Charles 51, 109 Shakespeare’s Globe Theatre Kean, Edmund 9

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172 INDEX

Kemble, Charles 50–1 opera 20, 23, 24, 25, 26, 37, 58, 61, 64, Komisarjevsky, Theodore 15, 49, 50, 52 128, 133, 134, 139, 146–8, 159 The Oresteia 152 Laver, James 10, 15, 38, 159 Orientalism 104–5 Light/lighting 13, 14, 37, 41, 47, 53, 55, original practices 19, 22, 37, 53, 54 67, 114, 120, 130, 141, 147, 150, 154, 157, 158, 160 pantomime 104–5 house lights 47, 147 participatory theatre 138 (see also London Theatre Studio 12, 14 immersive theatre) Loutherbourg, Philip 49 patterns, period, see cut and cutting Lovat, Claud 49 pawn, pawnbroker 39, 40 Lover, Samuel 110, 115 Pepys, Samuel 48, 69–70 Picasso, Pablo 142, 145 Macready, William 10 pictorial theatre 50–2 Malevich, Kazimir 146–8 Pinero, Arthur Wing 45, 46 Mander and Mitchenson 18 Planché, J.R. 9, 50–2 Marinetti, Filippo 143 Platter, Thomas 40 Marionette 142, 146, see Poel, William 45, 69 ubermarionette, puppet Popova, Lyubov 148–50 Masks 16, 66, 115–19, 122, 124, 127, Power, Tyrone 110–12 128, 132, 138, 142, 144, 147–8, 151, Prampolini, Enrico 143–4, 146 152, 153 Productivists 148 masques, see Stuart masques props 7, 20, 45, 53, 56, 154, 169 masquerade 8 prozedezhda 148–50 mechanical 46, 114, 144–6, 149 Punchdrunk Theatre Company 6, Meyerhold, Vsevolod 148–50, 151 128–32 mise en scene 3, 76 puppet 146, 160, see marionette, Mnoushkine, Ariane 16 ubermarionette modern dress 20–1, 36–38, 44–6, 49, 158, 159 race 114–27 modernism 118 reenactment 89–90 modernist, modernism 15, 109, 118, Reinhardt, Max 44 122, 123, 125, 142–52, 157, 159–61 The Rivals 46 modernity 105–18 Roman, a la romaine 8, 42, 48 Montgomery, Elizabeth 14 Romeo 49 Motley 14, 16 RSC (Royal Shakespeare Company) 19, music hall 123, 127, 157 21, 25, 53, 55 musical, musical theatre 16, 45, 133, Ruskin, John 104–5 153, 155, 157 Rylance, Mark 19, 20–2, 23, 53, 55, 74–93 Mystery Bouffe 148 The Salon Project 133 (photo) 133–6, National Theatre 155 139, 157–8 National Theatre of Scotland 152–3, scenography, scenographic 16–18, 46, 158–9 128, 141–4 New Stagecraft 52 Schlemmer, Oscar 146 Newton, Stella Mary 42 Schwartz, Matthaus 24 sculpture 66, 146 O’Neill, Eugene 109, 118–27 Shakespeare, William 18, 20, 23, 30–5, The Emperor Jones 119, 123 37, 38, 41–6, 50, 53–5, 63, 71, 119, The Hairy Ape 119–27 142, 153

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INDEX 173

As You Like It 21, 29 (illustr) 31, 34 Strutt, Joseph 8–9, 50 Hamlet 33, 43–5, 49, 74–93, 154, Stuart masques 15, 38, 42, 48, 154–7 160–1 sumptuary laws 40–1 Henry V 10, 38, 41, 54 Henry VIII 52 Tairov, Alexander 150–2 King John 9, 50–1 Taymor, Julie 16 King Lear 20, 153, 60 technique 73, 80–2 Macbeth 21, 35, 51, 52 technology 22, 53, 106, 139, 142, 144, The Merchant of Venice 30 158 A Midsummer Night’s Dream 51 Tiffany, John 152–3, 158–9 Othello 30 timeless 30–1, 53, 108 Richard II 51 Tiramani, Jenny 6, 12, 13, 19–28, 47, Richard III 37, 137 53–5, 72, 87–91, 137, 161 Romeo and Juliet 151 Tomkis, Thomas 43 Tempest, The 20 Tomlin, H.G. 51 Titus Andronicus 38 Tree, Herbert Beerbohn 52 Twelfth Night 19, 22, 23, 34, 142 A Winter’s Tale 31 ubermarionette 142, 144, 151 Shakespeare’s Globe Theatre 19–25, 37, Ultz, David 20 53–5, 72–93, 137, 149, see also Globe uniform 47, 110, 148–50, 155, 158 Theatre Sheridan, Richard Brinsley 46 Victoria and Albert Museum/V and A Simmel, George 17 10, 12, 15, 18, 20, 21, 52 skirt 146, 149, 151, 153, 155, 159–60 Veblen, Thorstein 17 spectacle 39, 105, 110, 136–7, 155–7 Vecellio 8 spectacular theatre 50–1 Victory over the Sun 146–8 Split Britches Theatre Company 92–8 virtuosity 73, 76–79 stage Irishness 109–14 Stanislavsky, Constantin 150, 151, 160 Waugh, Norah 12, 13, 14, 27 Stepanova, Varvara 18, 148–50 Wicked 61, 155 stereotypes 104–27 Wilde, Oscar 18, 45, 46

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