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A COSTUME DESIGN PROCESS FOR A PRODUCTION OF
BARBARA AND CARLTON MOLETTE'S FORTUNES OF THE MOOR
A Thesis
Presented in Partial Fulfillment of the Requirements for
The Degree Master of Fine Arts in the
Graduate School of The Ohio State University
By
Judy L. Chesnut, B.A.
*****
The Ohio State University
1998
Master's Examination Committee: Approved by:
Dennis A. Parker, Advisor
Dan Gray Dr. Anthony Hill ~t1~ Advisor
Department of Theatre ABSTRACT
The purpose of this paper is to document the costume design and production process for The Ohio State University Department of Theatre's 1998 production of Fortunes of the Moor, a new script by Barbara and Carlton
Molette, directed by Dr. Anthony Hill. Told from an Afro-centri c point-of-view, the play dealt with the issues of religion, slavery, cultural differences, and the "noble savage." The story was set in the late sixteenth century and centered on a custody battle over the interracial child bom to Othello and Desdemona. The problem set forth was to tell the story in a presentational West African method of storytelling from the perspective of the Africans which reflected how they imagined the Venetian culture. Included in this document are a discussion of the producing situation, the production concept and design scheme, a character analysis ,the process of mounting the production, and an evaluation of the completed project.
ii NOTE
A complete illustrated copy of this thesis is located in the Jerome A. Lawrence,
Robert E. Lee Theatre Research Institute at the Ohio State University.
iii VITA
May 19, 1967 Born - Martinsburg, West Virginia
1991-1995 '" '" B. A. Theatre ( Communications)
1995-Present Graduate Teaching Assistant, The Ohio State University
FIELD OF STUDY
Major Field: Theatre
iv TABLE OF CONTENTS
~
Abstract.., ii
Note iii
Vita iv
List of Tables , '" vi
List of Figures , vii
List of Plates viii
Introduction 1
Chapters:
1. The Producing Situation...... 3
2. The Production Concept and Design Scheme 5
3. Character Analysis , , 11
4. The Process , , ,. 20
5. Evaluation '" '" , 27
Selected Sources '" '" '" , 30
A. Tables , '" '" '" '" , 32
B. Figures...... 38
C. Plates , '" ,.., 49
v LIST OF TABLES
Table Page
1. Action Chart: Act I " ., , '" 33
2. Action Chart: Act II '" , '" , 34
3. Costume Plot '" ,.... 35
4. Costume Budget Sheet: Lodovico 36
5. Costume Budget Chart 37
vi LIST OF FIGURES
Fjgure Page
1. Preliminary Sketch: Griot, Chorus 39
2. Preliminary Sketch: Brabantio, Francesco 40
3. Preliminary Sketch: Gratiano, Christofolo, Lodovico 41
4. Preliminary Sketch: Hassan, Elissa, Somaia 42
5. Preliminary Sketch: Reverend Mother, Sister Anna, Bianca...... 43
6. Research Collage , '" 44
7. Scaled Pattern: Lodovico's Trunk Hose 45
8. Scaled Pattern: Brabantio's Doublet.. 46
9. Costume Accessory: Hassan's Leather Neck Piece 47
10. Costume Accessory: Large Chorus Mask " .., 48
vii LIST OF PLATES
. Plate
I. Rendering:
II. Rendering:
III. Rendering:
IV. Rendering:
V. Rendering:
VI. Rendering:
VII. Rendering:
VIII. Rendering:
IX. Rendering:
X. Rendering:
XI. Rendering:
XII. Rendering:
XIII. Rendering:
XlV. Rendering:
XV. Rendering: XVIII. Production Photograph: Lodovico, Christofolo, Act l.ii.. 67
XIX. Production Photograph: Gratiano, Brabantio, Act I.v 68
XX. Production Photograph: Cast, Act II.vi. , , 69
ix INTRODUCTION
The purpose of this paper is to document the costume design and production process for Fortunes of the Moor, a new script by Barbara and
Carlton Molette. Produced as part of the 1997-98 mainstage season at The
Ohio State University, the show opened on February 25, 1998. The production was held in Thurber Theater and closed March 7, 1998.
It is my intention to document the costume design and production process in five chapters with additional pertinent documents included as appendices. Chapter I will explore the theatre space, costume studio and staff, budget and the schedule of realizing the costumes.
Chapter II will discuss the director's production concept, significance of the script, achievement of the director's vision, costume research and costume design scheme in relation to the scenic and lighting elements.
Chapter III focuses on character analysis and specific design choices based on script information and evaluation, the director's concept, historical and evocative research, and on personal response to characters.
The preliminary sketches and changes in final renderings are the topic of Chapter IV. This chapter also addresses the choices and changes made due to budget, time and labor parameters. Chapter V is a retrospective evaluation of the completed project. I will
discuss what choices were successful and what I would do differently if I were
to do the show again. Feedback from the director, design/technical faculty
and post production review are included to expand the evaluation.
The document is completed by a list of works consulted during the
research phase, samples of preliminary and final renderings, color plates,
production photos, period patterns for selected garments in eighth inch scale,
and organizational paperwork for mounting the production. All references to
the script utilize the November 17, 1997 revision of Fortunes of the Moor by
Barbara and Carlton Molette.:
2
--l.~_ CHAPTER 1
THE PRODUCING SITUATION
Fortunes of the Moor was a mainstage production during The Ohio
State University's Department of Theatre's 1997-98 season. The production was presented in Thurber Theatre which is located in Drake Union. It opened on February 25, 1998, and closed on March 7 completing 10 performances.
The largest of two mainstage performance spaces, Thurber Theater had seating available for over 600 patrons. TI1e classic proscenium was 22 feet high and 37 feet wide. The stage depth was 38 feet upstage of the plaster line with a 12 foot apron extending over a hydraulic orchestra pit. The lighting capabilities were equally generous with 2 auditorium beam catwalks,
2 ante proscenium lighting coves, 4 counterweight electric pipes on stage and additional equipment available as needed.
The costume studio was located in the lower level of Drake Union. A large costume stock was housed on the top floor and basement with easy access to all storage locations. The costume studio was well equipped with 5 domestic sewing machines, 2 industrial sewing machines, and 2 domestic sergers. The space housed three 45" x 75" cutting tables, well stocked and
3 organized supply areas, and a well equipped dye room. The greenroom and
3 dressing rooms were immediately located outside the costume studio.
The staff included the Costume Studio Supervisor, Julia Weiss;
Master Seamstress, Nadine Spray; two costume design graduate students, and several undergraduate crew members. The scheduled construction period was five weeks. Although many stock items were utilized, the show was a large build with complicated period costumes, a variety of hats, and numerous masks. The major build items were divided up between the staff and small jobs were handed out daily to undergraduate workers. Six large masks were required for the performance in addition to twenty one small masks. Many of these were created with plastic, utilizing the Theatre
Department's vacuform machine located in the trap room of Thurber Theatre in close proximity to the costume studio.
The original budget was $2500.00 and increased to $3000.00 after the director's concept changed to include several additional cast members and costumes. The budget allowed for some expensive fabrics to be purchased.
However, the bulk of the funds were spread evenly over the primary cast members. $250.00 was allotted for dry-cleaning.
4 CHAPTER 2
THE PRODUCTION CONCEPT AND DESIGN SCHEME
Fortunes of the Moor has been labeled by the New York Times as "a sequel to Othello." Told from an Afro-centric point-of-view, the play dealt with the issues of religion, slavery, cultural differences, and the "noble savage."
The story was set in the late sixteenth century and centered on a custody battle over the interracial child born to Othello and Desdemona. The secretive birth of the child and tragic death of the parents left the child a ward of the Church. The orphan, who was sole heir to Othello's fortunes, remained in a Venetian convent. Othello's family traveled from Africa to collect the child and bring him home. Desdemona's father Brabantio was equally determined to gain custody of his grandson and the inheritance. The fate of the child was left in the hands of the Convent's Reverend Mother.
This new play by Barbara and Carlton Molette was a work-in-progress.
The script had gone through several changes from the initial version and three different versions were available as options. . The director chose the version that best facilitated the casting situation at The Ohio State University and the version that greatly influenced the inspirational vision and goal of the project.
5 The goal of the production is to enlighten audiences to racial attitudes and stereotypical traits perpetuated by the depiction of Othello; to celebrate cultural equity through elements of folklore, storytelling, singing and dancing; and to create a performance that is imaginative. visually pleasing, as well as educational and historical. (Hill 2)
Hill's vision was to tell the story in a presentational West African method of storytelling. This included many changes to the script which the playwrights supported by rewriting the prologue to include the character of the
Griot. Hill opened the story in an African village as members of the community gathered for a celebration in anticipation of the arrival of the Griot who was the town storyteller and history keeper. The Griot told the story of the journey. As he began, the story came to life through flashback, incorporating the imagination of the African villagers.
This presentational style allowed for the costume, scenic, and lighting designs to be more stylized and imaginative. Hill confirms this in the following statement:
Since the play is told from an African point-of-view, that is a perspective by the Africans of how they think the Venetians live and dress, the designers will be allowed greater flexibility in their choices of color, styles and variations to contrast the cultural differences between the Venetians and Africans, and to highlight the key visual metaphor--Othello and Desdemona's baby. (Hill 1)
It is important to note the African point-of-view of the play expressed by
Barbara and Carlton Molette is a revelation of the misconception and stereotype of the African people by the predominately white Venetian society.
The costumes chosen for the Africans supported a civil, digni'fied and wealthy community. Regardless of the refinement of the people. the Venetians made 6 bold and ruthless assumptions based solely on the hue of the Moorish skin.
Gratiano states in Act I. v. "Suppose Antonio's dark complexion and broad features grow more prominent as the years increase? His blood pollutes our family's line. Antonio is a Moor, and a Moor should be raised by barbarians"
(32). The Moors were often referred to as dusky primitives, savages, and
"barbarians who roam the dark mysterious land" (28). Ironically, it was several members of the Venetian society who lied, cheated, transformed themselves into a viscous mob and savagely murdered two of their own. Yet, they declared civil and social superiority.
The production concept allowed for stylized and imaginative costumes without excessive abstraction. The design scheme captured the differences between the cultures as well as differences within each culture by using a divided color palette between warm rich colors in contrast with cool, low intensity colors. The details of these decisions are discussed in the following chapter.
To visually support the thriving and honorable community, the Moors were dressed in warm luxurious colors with accents of organized geometric patterns. The cut of the garments was simple and has been worn in Africa for centuries. They were embellished with gold trims and jewels to reflect a prosperous society.
Layered garments allowed the actors to remove or add pieces for specific events. In Act I. iii. Lodovico states "The Moorish women dress remarkably like our nuns" (17). A nun of this period often wore a long
7 ecclesiastical gown with a robe and covered the head with a veil. The
Dramaturg declared that Othello's family was most likely from Morocco;
however, the costumes of this region did not fully embrace the strong African
quality of the production concept. The layered garments from the region were
incorporated with other African styles which achieved the desired effect of a
multicultural African nation. Although there was limited costume design
information for Africa during this period, there were many figurines and
sculptures that revealed pertinent information. I chose to use figurines from
the Benin Kingdom during the sixteenth century which gave excellent
examples of geometric patterns on fabric, wrapped garments, and specific
items such as necklaces and headwraps which I incorporated into the
costumes (Africa's Glorious Legacy, 118).
To contrast the savory colors of the Africans, we saw the Venetians
through the eyes of the Moors. Upon their arrival they described Venice as
being cold and "devoid of color" (4). This society was reflected through use
of black velvets, metallic grays, icy blues, and cool white accents. Richly
textured fabric and trims were chosen to enhance the limited palette.
Sixteenth century Venetian costumes were chosen to accentuate the contrast
of the two wortds. At the opening of the story, one of the Venetians had just
returned from the African village where he had introduced the Venetian
silhouette to the villagers. Therefore, I chose to stay true to the period
silhouette, stylizing the costumes through use of color and texture.
8
~---- Spain dominated fashion during this period and Venice followed suit.
The costume of the time was very stiff in comparison to that of the African
Kingdom: Fitted, boned bodices, starched ruffs, padded peascod bellies on
doublets, and erect hats supported the overall quality of the Venetian Society.
The style was:
strongly influenced by geometrical forms, the bOdy being circumscribed by spheres, cones and circles which not only completely concealed its natural curves but emphasized the different 'platforms' such as the hips and shoulders... The costume formed a case for the body, following its shape on the inside, but showing quite different contours on the outside. (Hansen 128).
This geometric silhouette was decorated with floral brocades which
were very popular at the time and symbolized a more cluttered and confused
society. In contrast, the free flowing garments of the Moors were decorated
in orderly geometric prints. These combinations not only supported the
characters' personalities, but also reflected historical aspects of costume
during the period. This created a sense of visual balance between the two
contrasting societies.
Scenic designer Dan Gray developed a very stylized set that reflected
the imagination of the villagers. The set embraced the warmth and
community of the African society as did the costumes. The neutral earth
tones of the set created a background that enhanced the vibrant colors of the
African costumes. A crown of African icons overlooked thatched roofs,
wooden textures and a patterned floor. The large chorus masks were in
harmony with the African icons and wooden textures of the set. As the set
9
- / revolved, the color and textures changed to support the image of a cold, hard, and colorless world of the Venetians. The archways of the village huts were now Venetian arches. The Venetian texture was cold stone overlooked by a towering cross which punctuated the religious theme in the play. The
Venetian setting was washed in a cool grayish blue in a consistent medium high value. This created a neutral background that supported the Venetian costumes and enhanced the visibility of the textural qualities of the fabrics.
Lighting designer Robert Johnson chose colorful saturated lights in the opening scene which were dramatic and captivating. The warm hues of the costumes were enhanced by this similar choice of colors used for the lighting. Rich patterns of light cast across the stage supported the African celebration. The patterns also reflected a similar quality of the patterned fabrics used for the African Villagers' costumes. Strong down-lighting created a dramatic modeled effect on the large chorus masks. This warm dramatic lighting gave way to pale blue as the set revolved to reveal the cold and colorless Venetian society. The Venetian costumes were intensified by the cold hard lighting of the Venetian setting. The overall spectacle created by the design elements worked as an organized and complementing unit to support Dr. Hill's production concept.
10 /
CHAPTER 3
CHARACTER ANALYSIS
The cast of characters in Fortunes of the Moor was divided into two
main groups; the Moors and the Venetians. It was necessary to point up the
differences between the two cultures in order to accurately represent ideas
expressed in the script. Each culture contained subgroups which were also
necessary to distinguish in the costume design. This chapter will discuss
specific design choices and how the costumes supported the two main
groups of characters as well as the individual characters.
The Moorish society was represented by warm luxurious colors which
signified the warmth of the community. Within this group were the three main
characters, Hassan, Elissa, and Somaia, who traveled to Venice to retrieve
the child. Hassan was Othello's uncle and was described by the playwrights
as being in his "mid-to-late 50's, the consummate salesman, a wealthy
merchant, persuasive without being bombastic" (v). Hassan's character was
very dignified and clever. He out smarted the Venetians by liquidating
Othello's properties right under their noses. He was an educated man of high
moral standards and wise to the conniving ways of the Venetians. Hassan
wore a richly embossed red velvet robe that he may have purchased abroad.
11 It was accented with gold reveres creating a long dignified line. Focus was
I drawn upward with a tiger print collar and beaded leather necklace similar to
the neckpiece found on a Benin sculpture. The matching hat was trimmed
with rich gold beads. The overall quality embraced dignity, strength, order,
and wealth.
Elissa, wife to Hassan, was described by the playwrights as being in
her mid 40's to early 50's. She had been Hassan's wife for 30 years and was
comfortable with her position in life. She made statements that reflected her
relationship with Hassan and her personality as a smart and dignified woman
with a mild sense of humor. "Hassan takes as long to narrate history as it
took for it to transpire" (21). She also stated "1 think Hassan exaggerates to
discourage us from spending money in their markets" (22). And in Act Il.ii.
she told him "I do not believe your stories" (41). She respected her husband
but was not intimidated or controlled by him. They clearly had mutual respect
for one another. Her costume complemented Hassan's with a gold geometric
print robe over a rust and gold gown. The combination was subtle, warm, and
rich. The long line of the silhouette created by the robe reflected dignity and
stability. Accents of gold jewelry decorated her with wealth.
Somaia was the sister to Othello and niece of Hassan and Elissa. It
was she who would raise the child as her own. She was described by the
playwrights as "late 30's; takes herself very seriously" (v). Somaia was very
strong minded and outspoken. Hassan stated in Act I.i, "The wind and
weather favored our voyage to Venice. Our only excitement came when
12 Somaia found it necessary to give our crew instruction in the art of sailing"
(4). As the ship arrived in Venice, Somaia exclaimed "I cannot wait to get off this vessel" (4). She continued to voice her opinion about the Venetians in
Act I.iv. "They live in buildings made of stones that swallow the warmth. The chill invades their souls and inspires their actions to be as cold as their surroundings" (21). When speaking about the Venetians she proclaimed
"We must command their respect" (41). She was clad in a purple robe with a gold collar which created a strong contrast in her costume. The line of the collar was angular and came to a point in the back. She was much more outspoken than Elissa and her boldness was reflected in her costume.
The African village dancers were loosely wrapped with colorful cotton prints. Examples of the different draping styles of fabric, jewelry, and tribal traditions found throughout the many African regions can be viewed in Angela
Fisher's book entitled Africa Adorned. The group of dancers included some similar tribal clothing which accented the traditional tribal dancing. These garments signified freedom of movement and spirit.
As the celebration began, the Griot and Chorus entered. Chorus members spoke directly to the audience and explained the tradition of
Abibigoro. "In Abibigoro, we usually have a Griot who tells the story while we the performers- act out some of the scenes" (1 ). The four main Chorus members wore long robes with large African masks. Several masks were worn through out the playas a metaphor for race. The Chorus masks and
13 gowns were worn over Venetian costumes enabling the actors to remove the robes and masks on stage and become Venetian characters.
The director requested mystical animalistic qualities for the Griot. As the Griot entered, he wore a large, leather animal-like mask accented with raffia and protruding horns. A long leather apron with three dimensional application of simulated roots, herbs, beads and shells completed the mystical look. The garment took on qualities similar to a garment worn by hunters which contained medicine for their journey. A leather neckpiece adorned with goat hair maintained the animal quality of the costume when the mask was removed. During a murderous mob scene in Venice, the Griot appeared in a large skeletal death mask and ragged dark cloak as a spiritual being who had control over events.
In contrast to the African group, Venice was described in the script as being "devoid of color" (4). The distribution of black velvets, metallic grays, icy blues, and cool white accents in the costumes reflected this society through the eyes of the Moors. The strong sixteenth century Venetian silhouette was chosen to express the contrast of the two societies. This group included eight characters: Brabantio, father of Desdemona; Gratiano, brother to Brabantio; Lodovico, nephew to Gratiano and Brabantio;
Francesco, son of Gratiano; Bianca, courtesan to Lodovico; Cristofolo. senator and merchant; Reverend Mother, head of convent; and Sister Anna, a nun at the convent.
14 Brabantio was in his "mid -to~late 50's; A Senator; inherited his father's fortune; begrudging; yet his siblings and their children are dependent upon his largeness; balding; recovering from a serious illness" (v). His overall demeanor was dominating and controlling. The doublet with padded peascod belly and matching Venetian trousers was an icy blue brocade with metallic silver woven into the texture of the fabric. This was contrasted with dark blue trim and dark blue velvet cloak with thick pale gray reveres made of fur. The high value contrast of the costume was significant in creating a dominant character. He was the Venetian equivalent to Hassan, and therefore the weight and size of the cloak had to parallel the robe worn by Hassan.
Gratiano was the leading antagonist of the Venetian characters. He was described by the playwrights as being in his "mid-to-late 40's; has no conscience; in his relationships with his wife, his son, and his nephew, he alternates from domineering and abusive to tender and attentive" (v).
Gratiano's main objective was to make sure that Brabantio did not get custody of the child who would then inherit Brabantio's wealth. Brabantio had recently recovered from a serious illness brought on by the tragic death of his daughter. The news of the orphan child was influential in his recovery due to the assurance of an heir. Without the child, Gratiano expected he would receive Brabantio's wealth. The ruthless Gratiano resorted to murder in an attempt to insure his plan. He wore a villainous black cape and trousers called Venetians. His doublet was of a black burned-out silk floral pattern
15 with a series of silver diamond buttons down the center of the doublet. A stiff
white ruff with silver accents brought focus to his face.
Gratiano's nephew Lodovico was like a son to him. Lodovico
respected Gratiano and acted as his right hand man. The playwrights
described Lodovico as: "mid 30's; considers himself a ladies' man; wears the
latest fashion in clothes" (v). Although striving to follow Gratiano's orders,
Lodovico showed some redeeming qualities when he questioned Gratiano's
level of ruthlessness concerning the murder of the baby. Lodovico stated in
Act I.v. "Despite my loyalty to you and my desperate need for funds, I cannot
kill an innocent child" (34). In addition, Lodovico struggled with his passion
for fine clothing and women which conflicted with the lifestyle Gratiano
demanded of him. Gratiano scolded Lodovico for his lifestyle in Act l.v. "You
drink to excess. You gamble beyond your means. You prance about the city
in expensive clothes arousing ladies to sigh and say' What a handsome sight
is Lodovico' II (33).
Lodovico was adorned in a slate gray and black doublet and trunkhose
made of expensive brocade with black velvet and silver trimmings. Diamond
shape slashing with protruding white fabric suggested a juxtaposition between
what he tried to be for Gratiano, and how he actually lived. The outfit was
completed with a black cape similar to Gratiano's yet more decorative with a
floral embossed pattern, softening the black into various shades of gray. A
tall black velvet hat with white plume and sword belt added the final touch to
the period ensemble.
16 Gratiano's real son, Francesco, refused to acknowledge his wicked father. Francesco was described by the playwrights as: "mid..to-Iate 20's; an opportunist who believes he is morally superior to his father whom he avoids, in part to escape his abusive behavior and to avoid witnessing him abuse others- especially his mother" (v). It was Francesco who exposed the story about his father and Lodovico. In Act II.vi Francesco stated. "I must bear witness to the truth. My father directed Lodovico to hire two assassins, disguise them as Moors, kidnap the infant wrapped in Brabantio's blanket, and murder the infant" (62). He then says to Brabantio "Uncle, I ask for your devotion and counsel. In all things, consider me your son" (62). In a classic
Deus ex Machina fashion, Francesco saved the day by revealing the truth and gave Brabantio an alternative heir. When Hassan threatened to go to war over the child, Brabantio decided not to seek custody and assumed the fortunes of the child would be left in Venice for him to cease.
To contrast Francesco with his villainous father, Francesco wore a pale blue doublet and pumpkin hose which captured both his youth and decency in comparison to his father. This choice of color also related
Francesco to Brabantio.
The character of Cristofolo made only one appearance in Act l.ii. but revealed information that was crucial to the themes in the play. It was in this scene that the brutality of slavery was discussed as a hearty business deal.
Cristofolo had offered Gratiano the opportunity to invest in the transport of slaves only because he was the brother of Brabantio. In a shocking
17 statement Cristofolo revealed not only his own view of the Moors, but also the views of very high ranking officials in the white society "Brabantio is my friend, and I respect his judgement. Yet, he stubbornly contends these
Moorish creatures are altogether human despite opinions to the contrary from our most distinguished clergymen and scholars" (8).
Tarnished metallic silver reflected the cold, hard and inhuman aspects of what this character revealed. The character was lavishly decorated with the evocative color of chains. Cristofolo wore a tarnished silver doublet and breeches under a large cloak with thick black fur reveres. The exterior of the cloak was a sheer floral print over a metallic silver that loomed just beneath the surface. The ensemble was large and dominating, accented with a thick white ruff and tall dark hat.
Lodovico's love interest Bianca was a woman with low moral standards and high appreciation for monetary gifts. The playwrights described her as a
"courtesan to Lodovico -- mid 30's; concerned about settling down" (v). The relationship between Bianca and Lodovico was hot and lusty. She was raised by the nuns in the convent and often volunteered her time to help with the children. This respectable facade is balanced by a healthy appetite for sex and money. Bianca was adorned in a smoky blue brocade skirt with a corset bodice covered in fine black lace. Her blouse and deep decolletage exposed flesh suggesting a sensuous woman of low moral standards. A woven ribbon around the decolletage which finished in a loose bow at the center of her bosom was a delightful invitation for Lodovico.
18 In Act I.v. Gratiano reiterated that "Clergymen and scholars insist these
Moorish creatures are not human. If they were human, would the church
allow them to be sold as slaves?" (34). At the convent the Reverend Mother
and Sister Anna represented the Church. Standard attire for nuns of the
Order of St. Stephen of Florence best represented these religious characters.
I chose this style because of the white robe as opposed to the black robe
commonly worn by nuns of this period. The significance of the white was a
choice made to reflect the race of the church.
The Reverend Mother was the "head of convent- late 40's to mid 50's;
fervently believes in her religion; appears to be compassionate but tolerates
no nonsense as manager of institutional affairs of the convent" (v). She wore
the white robe with a matching tabard that included a silver cross in the
center. Sister Anna was "much older than Rev. Mother; her memory of the
distant past is more accurate than her memory of the immediate past; she
loves to care for the children" (v). To distinguish the Reverend Mother from
the Sister, I chose to eliminate the tabard for Sister Anna and belt the gown
with a rope.
The overall design choices defined the two societies and gave a visual
representation of the individual characters. The play dealt with the issues of
religion, slavery, cultural differences, and the "noble savage." These main
themes were also represented by several design choices. The next step of
the process was to execute the designs.
19
1 CHAPTER 4
THE PROCESS
The production process for Fortunes of the Moor was extremely
intense because the show evolved during the rehearsal phase. Costume
needs changed and grew during the allotted build period. This chapter will
explore the changes from my preliminary to final designs. Changes that
occurred during the construction process as a result of the budget, time,
labor, available fabric, and available costume stock will also be discussed.
The preliminary designs were presented to the production team on
December 2, 1997. Following the meeting the Scenic Designer, Dan Gray,
brought a problem to my attention. He felt that the preliminary costume ideas
for the Venetian characters were too realistic to be compatible with the
abstract set and presentational nature of the production. After a few design
meetings we arrived at a common ground. The misunderstanding stemmed
from the concept of the story taking place in the imaginations of the Africans.
The Scenic Designer had completely abstracted the Venetian setting by using
the African village for all locations of the play. I chose not to abstract the
period silhouette because the villagers had seen Lodovico who stayed in the
village when delivering the news of the existence of the baby. Therefore the
20 j villagers had an idea of what Venetian costumes looked like. It also served as the best shape and form to describe the Venetian society. I stylized the
Venetian costumes by choosing a very tight palette of black, white, gray, silver, and blue. The Scenic Designer introduced more Venetian elements into the setting for the scenes that took place in Venice.
Fabric choices were plentiful for the Moorish costumes due to Black
History month. Colorful African prints were available in several fabric stores in the Columbus area. In addition, a variety of velvets were on sale due to the post holiday season which proved to be useful for the Venetian costumes.
With a total of twenty five cast members and multiple costumes for some, budget and time were prominent factors. Fortunately, the theatre department had a large costume stock which supplemented the costumes to be built.
Many items were dyed and re-cut to fit the period and concept. This cut down on material cost but still required significant time and labor.
The show officially entered the shop on January 20, 1998, however, the shop schedule permitted some muslin mockups to be built the previous week. Things were off to a strong start and although the size of the cast was still fluctuating, the major build items were able to be started.
At this point I began the process of making the masks required for the production. These included four large individual masks for the chorus, two large masks for the Griot, sixteen identical masks for the mob scene, and six identical masks for additional chorus members. The grand total was twenty eight masks.
21 My research included the Thurston James book on mask making and
information on leather crafting. I chose to utilize the department's vacuform
machine which was the best solution to the multiple masks. It also proved the
best solution for the larger chorus masks as well.
I began the process with the set of white mob masks. I sculpted the
desired mask out of modeling clay and mounted it on to a wooden frame after
it had fully dried. At this point I anticipated that the clay mold was not durable
enough to withstand the vacuform process. I coated the mold with phlexglue
and Jaxsan, an acrylic coating, to protect it from the heat and pressure of the
vacuform machine. It took several tries before the vacuform process would
successfully release the mold from the plastic. The undercuts of the mold
were too severe and had to be filled in order for it to work. At this point I
moved ahead with the process of forming sixteen masks from this slowly
crumbling mold. Afterward the masks were trimmed, primed, and hand
painted. Although the final outcome was successful, I had to find a more
durable substance for the next mold.
The large chorus masks were created by carving the molds from open
cell foam. Upon completion of the first of four chorus masks I experimented
with a new substance called Ultraform from Unnatural Resources. The
Ultraform was supposed to form to the mold when warmed with a heat gun.
The substance did not form very well and became extremely sticky when
heated. It bonded to the mold making it nearly impossible get off. This was
not a success and I decided the vacuform process would be most efficient.
22
! .1 had to re-carve the damaged mold and prepare the rest of the molds for the vacuform process. After the carving process was complete, the molds were sanded and coated with a variety of heat resistant substances in preparation for the vacuform process.
I coated the first mold with joint compound. This took a day to dry and it separated into cracks in many areas. I liked this effect for one particular mask design because it resembled the cracking of wood. The vacuform plastic that was in stock was much too thin for the larger masks so I decided to experiment with doubling the sheets. This created air pockets in some areas but proved to be the perfect strength for the size of the masks. I then ordered the proper quantity and weight directly from the AIN Plastic Company located in Columbus.
I attempted to create a smooth finish for one of the large masks by coating the mold with plaster. Unfortunately under the pressure of the vacuform suction, the plaster became severely cracked. Luckily I had to make only one copy of the mold, and although the cracks showed in the final product they would not be noticeable when painted.
The death mask for the Groit was a large abstract skull. I covered the foam carving with Jaxsan which created the rough and gritty texture I was trying to achieve. Although the material proved not to be heat resistant and several areas of the foam carving melted, the flaws in the substance enhanced the texture and shape of the death mask.
23 For the six smaller chorus masks, I sculpted a positive clay mold of an
African mask, covered it with plaster which created a negative plaster mold. I
then poured a plaster cast from that negative using paint and Vaseline as the
release agent. This process was very successful.
The Griot's animal mask was made of leather. This process was very
successful, especially for a first try. I sculpted the desired shape of the mask
out of clay, then created a negative plaster mold from the clay. I then created
a muslin pattern of the shape I would need the leather to be. After soaking
the leather over night, I cut the shape and pressed it into the plaster mold.
With special leather tools I coaxed the leather into place, paying special
attention to the deep crevices of the nose. The next step was to bake it in the
oven at two hundred degrees which dried and hardened the leather.
Afterward, the leather was removed from the plaster and the open work was
cut, this included the eyes, nose and mouth. I dyed the leather and added
horns, teeth, and raffia for completion of the design.
The smaller masks were easily secured to the actor's head with an
elastic band, but the large masks were a more complex problem. I filled the
upper portion of the large masks with foam to create a foundation for
attaching the head gear to support the large masks. Adjustable headbands
from welding helmets were attached to the foam with hot glue and screws. It
was also at this point that I learned the mob scene had decreased from
sixteen to five which created a surplus of eleven mob masks.
24
1. Back in the studio there was concern because construction had fallen behind schedule. The complicated period garments were much more time consuming to construct than anyone had anticipated. At first dress, hems were still pinned in and many alterations were yet to be made. Hats had not yet begun to be constructed due to the pressing needs of other major items.
Trims had not been applied and many fastenings were incomplete. By second dress the costumes were still incomplete. The scene studio sent students over to the costume studio to help polish shoes, sew on buttons, and other similar tasks. This help proved to be invaluable because it freed up the more experienced crew members to apply trims and help with the construction of the hats.
A problem arose with the small chorus masks. The fresh paint, which had been applied several hours prior to final dress rehearsal, failed to dry completely. The insides of the masks were sligl1tly tacky so baby powder was added to absorb the remaining moisture. Unfortunately the fumes from the fresh paint botbered the actors and as the moisture from their sweat mixed with the baby powder, the paint became tacky again. I placed bowls of powder back stage for the rehearsal and instructed the actors to coat the masks each time before putting them on. I also assured them that the problem would be fixed by the following night. This was done by covering the insides of the masks with black gaffers tape which eliminated the smell while covering any possible areas of tacky paint.
25 By opening night, all the hats were complete, most trim had been applied to the costumes, all shoes were dyed or painted, and most of the construction details were finished. The padded crescent shoulder rolls which were a prominent feature of the Venetian costume were completely eliminated but did not detract from the basic design of the costumes. The overall process was a whirlwind of trial and error to achieve the desired results.
26 CHAPTER 5
AN EVALUATION OF THE DESIGN
The overall spectacle of Fortunes of the Moor was outstanding due to a successful marriage of all design elements. The contrast between the
African kingdom and the Venetian society was strikingly evident in the costumes, set, and lighting. The limited palette for the Venetian characters did not detract from the visual interest due to trims and overlapping of a variety of textures and prints. The African costumes were warm and rich as intended and embraced the dignity and wealth of the characters through the trims and luxurious warm velvets with gold accents. The large chorus masks were very dramatic and the effect was profound and captivating.
Some things that did not work as well as I had anticipated were the choice of fabric for the nun costumes. These items were made of raw silk which had a slight nubby texture; however, the texture did not read in the theatre and the weight of the fabric created a heavy sagging quality. I should have chosen a more crisp fabric and a more nubby texture which would have read from the house.
In addition, the silk chiffon fabric chosen for the scarves worn by
Elissa and Somaia did not work as I had hoped. The desired effect was a light weight sheer scarf but the chiffon was heavier than I imagined and 27 during the dying process the fabric shrunk and became opaque. I attempted
to stretch the fabric back out by ironing but the scarves still hung like heavy
opaque rags.
The small chorus masks should have been more modeled with
highlights and lowlights to accentuate the features of the mask. The mob
masks needed greater detail as well for a more dramatic appearance.
Overall, the most successful costume was Lodovico's. The doublet
and trunk hose were built with precision by an excellent stitcher. The
expensive brocade fabric in combination with black velvet, white accents and
silver trim was visually stimulating and represented the character while
supporting specific lines in the text.
The Griot's age make-up was much too light and the character could
have appeared much older with the use of a bald cap and strong age make
up. The natural hair of the actor was much too long and luxurious to have
reflected an old man. Although graying was added to the hair, the effect was
not strong enough.
My advisor and other professors of the department had some
suggestions that may have helped the production process. It was brought to
my attention in the post production review that I could have utilized the
available student crews in the scene studio to aid in the mask making
process. This would have freed up some of my time which could have been
spent in the costume studio. As it was, I spent most of the production period
in the scene studio working vigorously on the completion of the masks. My
28
1 fingers were swollen, my knuckles ached and cuts and bums covered my
swollen hands. The next time I will wear protective work gloves.
Another time saving factor suggested was that I order the frames for
the period hats as opposed to building each one from scratch. Their
construction time would have been cut in half. In addition, the costume shop
supervisor could have anticipated the amount of time and labor necessary for
a show of this magnitude and taken preliminary steps to avoid possible
problems. If weekly deadlines were initiated, the problems would have been
apparent much earlier and steps could have been taken to assure the
completion of the build in a timely fashion.
Despite the numerous problems, I was very pleased with the final
outcome as were the director and the playwrights. This project was an
intense learning experience and I enjoyed the challenge. I consider this
production of Fortunes of the Moor a great success.
29
I j SELECTED SOURCES
Arnold, Janet. Patterns of Fashion; The Cut and Construction of Clothes for Men and Women c1560-1620. New York: Drama Books, 1985.
Beckwith, Carol, and Angela Fisher. African Ark. New York: Harry N. Abrams, Inc., 1990.
Braudel, Fernand. Out of Italy. Paris: Flammarion, 1989.
Brook, Iris. English Costume in the Age of Elizabeth: The Sixteenth Century. London: Adam & Charles Black,1950.
Cole, Herbert M. I Am Not Myself: The Art of African Masquerade. Los Angeles: Museum of Cultural History, University of California, 1985.
Davenport, Millia. Book of Costume. New York: Crown Publishers Inc. 9th Publication, 1970.
Doreen. The Encyclopedia of World Costume. New York: Charles Scribner's Sons, 1978.
Editors of Time-Life Books. Africa's Glorious Legacy. Alexandria: Time Life Inc, 1994.
Eicher, Joanne B. Dress and Ethnicity. Herndon: Berg Publishers Limited, 1995.
Eubank, Keith. , and Phyllis Tortora. A Survey of Historic Costume. New York: Fairchild Publications, 1989.
Fisher, Angela. Africa Adorned. New York: Harry N. Abrams, Inc., 1984.
Garlake, Peter. The Kingdoms of Africa: The Making of the Past. New York: Peter Bedrick Books, 1990.
Gerszi, Terez. Bruegel and His Age. New York: Taplinger Publishing Company, 1970.
Gorsline, Douglas. What People Wore: A Visual History of Dress from Ancient Times to Twentieth Century America. New York: Bonanza Books, 1984
30
i I \ ...... Hansen, Henny Harald. Costumes and Styles. New York: E.P. Dutton & Co., Inc., 1956.
Hill, Anthony D. Concept Statement for Fortunes of the Moor. The Ohio State University. October 13, 1997.
James, Thurston. The Prop Builder's Mask-Making Handbook. White Hall: Berrerway Publications, Inc., 1990.
Laver, James. Costume & Fashion. New York: Thames and Gudson Ltd., 1995.
Marly, Diana de. Fashion For Men: An Illustrated History. New York. Homes & Meier Publisher, Inc., 1985.
Monti, Nicolas. Africa Then: Photographs 1840-1918. New York: Alfred A Knopf, 1987.
Reynolds, Graham. Nicholas Hilliard & Isaac Oliver. London: Her Majesty's Stationery Office, 1971.
Roberts, Keith. Bruegel. London: Phaidon Press Limited, 1982.
Segy, Ladislas. Masks of Black Africa. New York: Dover Publications, Inc., 1976.
Sieber. African Textiles and Decorative Arts. New York: The Museum of Modem Art, 1972
Strong, Roy. The Elizabethan Image: Paintings in England 1540-1620. New York: Arno Press, 1969.
Tueten, Timothy. A Collector's Guide to Masks. Secaucas: Wellfleet Books, 1990.
Wilcox, R. Turner. Folk & Festival Costume of the World. London: B.T. Batsford Ltd.1965.Yarwood,
31 Z£
S318't.l
't XIGN3dd't ~ . . . ,
FORTUNES OFTIlE MOOR ACTION CIIART : ACTI
PROL.O(;U[ 1.1. 1.11. 1.111. I.Iv. I.v. CIIARACn:R DANCE IIASSAN'S SIIIP AT TilE PIER OUTSIDE CONVENT AT TilE INN AT DRABANTIO'S
[\rabanlio: Grav I 2 J hristofolo: Neher 1.2 J .odovico : Davies I 2 I J I Gratiano : Dubin I 2 I J ranceseo : Meier 1.2 I 2 1.2 i1iot : Ilrown I I lassan : Fubara I I I I Sumaia : Anike I J I J :Iissa : Orobike I I I I lianea : Uallller J 2 I SisterAnna: Dradac Rev. Moth.:r : Russo 'homs Ilowlinll 1.2 1.2 hums: Costantino J 2 1.2 .hom' : ParrY 1.2 1.2 w v, hnms : Walker 1.2 1.2 Villallen: Allen I - Dixon I I'urlluun I 1Ii11 J McNilLhl I l!eRllfer I I I hi.: I Williams I -
TABLE 1 - ACTION CHART: Act I FORTUNES OF TIlE MOOR ACTION C"ART : ACT II
CtlARAL'"[R : 11.1. 11.11. 11.111. Il.Iv. ltv. II.vl. I: AC1'OR P OUTSIDE CONVENl TilE INN OUTSIDE the INN MOB SCENE CONVENT CONVENT
nnbantio : Orav I tcloak.hat hrisillfolo : Neher I ] Lodovico : Davies I I 2 - mask+hal ~r••iano : Dubin I I rancesco : Meier 1.2 I I ) lInol : IIrown t I 2 I lIassan : Fublll I I I I Somaia : Anike I I I Elissa : UfiJbike I I I niaea : Ualllter I I Sister Anna: IIrldae I I Rev. MOlher : Russo I I horus: Rowlinll ] 4 ],4 ) 2 'horus. Costantino ),4 3,4 3.2 .ltorus : I'arry 3 4 ],4 J 2 homs : Walker I ] I ,3 I 2 w ~ PUlller I
TABLE 2 - ACTION CHART: Act II FORTUNES OF THE MOOR COSTUME PLOT
MALE
1. Brabantio I.v. 1. Gown, Robe 2 .Brabantio Il.vi. 2. Doublet, Venetians Cloak, Hat
3. Gratiano l.ii.,v.,ll.ii.,iiL,vi. 1. Doublet, Venetians, Cape,Hat
4. Cristofolo l.ii. 1. Doublet,Venetians, Cloak, Hat
5. Lodovico l.ii.,iii.,v., II.L,iv., 1. Doublet, Trunk hose with Canions.. Cape, Hat. I ADD: Cape, Turban
6. Francesco Il.iii.,iv.,vL 1. Jerkin, Trunkhose, Mantle
7. Grio I., II, 1. Mask, Raffia outfit.
8. Hassan I.i.,iL,iv. ,P, II.iL,iii.,v.,vi. 1. Robe, Gown, Hat
FEMALE
1. Somaia I.L,ii.,iv.,II.iL,v.,vi. 1. Gown, Robe, Scarf
2. Elissa I.i.,ii.,iv., Il.ii.,v.,vi. 1. Gown, Robe, Scarf
3. Bianca l.iii., l!.i.,iii. 1. Skirt, Corset, Blouse
4. Sister Anna Il.v. 1. Gown, Wimple,
5. Reverend Mother lI.v.,vL 1. Gown, Wimple.
Mise
1. Chorus P, I.L,v., Il.iii.,iv.,v.,vi. 1. Robe, B. Mask, W. Mask 2. Chorus P, I.i.,v., Il.iiL,iv.,v.,vi 1. Robe, B. Mask, W. Mask 3. Chorus P, I.L,v., lI.iiL,iv., v.,vi 1. Robe, B. Mask, W. Mask 4. Chorus P, I.L,v., Il.iii.,iv.,v.,vi. 1. Robe, B. Mask, W. Mask
Villagers 9. African Garment, IAdd: 5 Capes, 5 Whrte Msks African Dancers
Ven. Dancers 4. Brothel Dress, Under blouse 4. Venetian Gowns, Hats etc. TABLE 3 - COSTUME PLOT 3S
I 1 ..
nUOGEl SllEHt FORTUNES or TIIE MOOR
ICiIARAC'l'ERliTEM 1)[SCRIPnON lOuANTJ'rv "cOSTlSoURCE fTOTAL IACTUALCOST )SOlJRCE troTA I,
I.000VICO IAT ILK VELVET I vd !Ul22.00 HANCOCK $12.00 II vd !Ul12.99 blANCOCK $1299 IDOUOLET LKOROC 12 vds@ 15.00 IF,NO $)0.00 12vds @38.98 InANACHE S77.96 WHT SILK I vd!Ul 5.00 R.G.S. $5.00 I So 00 ISTOCK $0.00 ffRIM LVTTRIM 120 vds iii! 2.00 'INO $40.00 b rolls iii! 25.00 IRGS $75.00 iSILVER 12 vdu 1.00 fANCOCK $1200 112 yds (iii 2.29 ~fANCOCK S27.48 INING IOi.K 'vds (iii 5.00 fANCOCK $10.001 ISTOCK 50.00 RUNK liS IOi.K OROC : vdsriill5.oo INO $30.00 Ii vds iii! 38.98 IOANACIIE $77.96 'ANIONS IDLACK VLvr I vd CiilIS.OO IANCOCK $15.0011 vd« I'OTAI. 5251.08 roTA/, SJ!lJ.47 ~ 1----4 I I I I I I I TABLE 4 - COSTUME BUDGET SHEET: Lodovico COSTUME BUDGET CHART FORTUNES OF THE MOOR WINTER 1998 IT~M COSTUMES: Brabantio 285.51 Gratiano 159.27 Christofolo 215.89 Lodovico 353.47 Francesco 35.98 Griot 110.96 Hassan 256.89 Somaia 116.81 Elissa 127.97 Bianca 84.96 Reverend Mother 41.76 Sister Anna 41.76 Main Chorus 329.98 Additional Chorus 58.94 African Dancers and Villagers 349.88 White Mob 128.60 Dry Cleaning 250.00 TOTAL $2948.63 TABLE 5 - COSTUME BUDGET CHART 37 8£ ssaneu 8 XION3ddV 6£ ." G) C JJ m "tJ JJ m r s: Z l> JJ -< en m::'\ ci ~ G) o·~ ~ o zr o ~ c: en Oi> "i1 G) C "':- :D c:) m ~ I\) ...... : OJ ~ -u ~ ~ :D ~ m R CJ5 r s a s: f-, ~ :0::: ~ z ~ }> ~ :D ,-. -< ~ (J) a mA a -l ~ 0 I b1 'f!:~ -', ~ CD ~ ,~ . ·. J) .r .... ~\ ~ l)J ...... ; 0' ~ ~ . , ·. ~iI l)J :::J ~ c5" - "";-. ...."i1 l)J :::J o et> en o 0 ~ .. Iv ." G) C :D m co ""'C :D m r s: »z :D -< en ~ m o-l I G) ..... I» - iii· ~ _0 o zr .....en· 0'o ::; r b <::J o .0 C < O < i" (')" .0 o ! Zv '?l ~ '" G)" s::: c < ~ ~ :::IJ :r> I,,) m en C) .'"1> ~ ,'2 "':-. ~ ""'0 ~ :::IJ ::::: m ...... : r ~ ~ z C) » ~ :::IJ -< ~ en 1- A ~ m o~ I I Q) en en Q) :::l m Ci; t,, en Q) ~ rs en 1 0 3 Q) 05" FOR7VNES OF THE MOOR ~ ! L L.J t' ( ' Ji . ~ y' I I /r ;\: ' \ ;," \ , I.I~L,:: \1'' i; \ I(" I 11,~ ~: 1111: I"""__ L .; :, !, I ; } I ' \ i 'j • ,,1/. _ _ '" ~ ~ ;~~ .~ ...... " ~r-': " RE-JE«END MonIER ~15T~1t ANNA BIAN~A FIGURE 5 - PRELIMINARY SKETCH: Reverend Mother, Sister Anna, Bianca sovnoo HJ~V'3S3~ - 9 3~n81::l 3S0H )fNn~.l S,O:>IAOaOl ~N~3l..lVd 031V:>S - L 3~n81.:1 (vs PIOWV) .....---. --- . r=== . r== - i-'- - ~ I-- --:--: L - --'- .. .. '----- .. _. c.....:...; '-- t--:--: ~ l- r-- - - I -::::-:: -~ --_.I---- i---=-' - I-- '==" - ~~~--- -~'..- • tt _ ""'"'c:'.,~~ , .. '_7 . t . __.'" • _ I. :. . . I . I .~~"'- . ! I'UI",,", ...... ' .... ~ laa~8~ ~_~ ~Y'Ji:-.I~i3O;.ifiS~~~-fuw(1·'a,..'~!.~~~ NC1SiNiitJ~~O ~~0Illl10""'.d'V1lll'Oj0100"'.9~'f\l...r--I------.i~;...r."1>1I"!":""'~'''''''''''''''''~3~S--~~r; .~ -"'r"'-OS' ~IN'S'l ~ ._-""":~ .,._~~~~ - I --- •• - --- =r------ ---- ~--- - --- - ~ ... -----l-!--·-='-~i _._--~-- -_ .. _._ ..~ ... -- - ...--1.- I ---+I .~ .. _._-.-i-. _._ .... I . j ~- ·/~F: ::=~~:~:-: ~1=~:' ~-==:= F~~i±=::: 'ONlm40 -vaaN;-lf;;'j9':l ~: ~ ... ~. V"" 3""H Jl;J)OO.r 11 - j :.. .llolDlt:! -.- . IIIOVol1'IClI' .. .• --' , - ..; - 'I I -. - I - ;JQ!klIS .. ---- ...... ,.... ~...... - .' .. - to' ----I""' ...... _...-l....---. I --- • .... ---rt .. -_. ","",,9 ...~ SCALE: 1/8" =1" °-r------I I (Arnold 75) FIGURE 8 - SCALED PATTERN: BRABANTIO'S DOUBLET 46 BAsS%\: h)a.&PIe:E" r-; '3" ,-' ~""" ( / \. (1/ '\ J".,£:I+me:2 (~J ) L!J.tAN~ ·...... "-----"~ C\)T l-~' A.1'11'E'(2.. ,AN D DYE"" DeeP ya.~ew .'BEVeL ~6E;. I ~OL b Y:-l \W'Ttt:) WDOCEl-! lUSES 6E'w N;~ fie::::vf1 K'~I:::~~ ouTh.J.llZD • AL.L B6\r:>5 ~ 5aut-J Ot-..\. • ~DLD~L.Ta2.I\JA"fI"ftJ{'i XJ 12.ED :;... S~A.N~ Ct= ~~A'D5 ~ N ~ fiX...... \...e:~'i1 ~~ • • (y..CCCE"") U ( ~ GO-p 'BEt.!>S I IJ.TI ::----.~TCU) SEA ~ S 17" r FIGURE 9 - COSTUME ACCESSORY: HASSAN'S LEATHER NECK PIECE 47 I/1..-_,Jt:;.r.:..:=jI:!lII" 1/ CfOe{)s MfJ£ ~.:::t/::. / "Awe} .PA72RY A1i1'CIf WDOC- FAi,e-Ic... -ro £ I IE> ~ I I1tiS lUlu.. 7 CJ>I~ "1"l\'£ ~ OP'~~ <------=::::o.2c" ::0 B£...k.IL I I zr;' 5311 ~~~:CD~:~~~~ L.o.r.> '-' b H'IS ~ I . CUr cu' _\_ V?:"\ .'e " '.CAR'\JI= ~O~\ '?-,\-UE. FOAM -SAND 2. CoA.:r. wi J'b I t>.IT COM,. ?00 IV D '3. ?i2~.4l4= Fb~ \I~uft>QIY\-CO~~Ul-T Ko)J ~, VAWFOe/Vl 5.TRIM 1:4 w.T:.oPEN 1,0012-1<... C~~ MO..mi) r . &. FILL 5tlCK.-uP?eiZ. ?,of..4'fON W(~ILJ6 ~ 7. fvlovNr wa.D!~ J-\-al~rT" ~ GeAl'<... 's~ wi t-lor6L.U& <:l- S4~ IlVTtl ~ 8 PAltv,... q.. Ao 'D B~DS 9. ~ F=A:B-/2.j c..."1D ~ FIGURE 10 - COSTUME ACCESSORY: LARGE CHORUS MASK 48 6v S31Vld o XION3ddV os uasssu : 8 N I ~ 3 a N 3 ~ - I 3.l'v'ld 0/<1. ' -IL " .'l.1 "!( '/1 " t\ 1 " ,11 "~ I 'I :.l:J V D.Joqn.:J!q!.JD)( :NOD .. uvr>DH ://:u:> nH'H:> HOON3HJ. .:10SIlNfl.1HO.:l [s e!ewos :8NIH30N3H - II 31\fld -''''' 'I\''"."'',,,'',-,''!'! :.0" >fluy :1I0.L:W DIDUIOS :lI:I.J.:)Yl/VH:J .. 1-' _ ;; ..... ~ , tJOOW:IH.l .:10S:JNfl.l80.:1 ess!l3 : ~ N I Cj 3 0 N 3 Cj - III 31'ild "11\ , .", ··WII '.f\! '"n 'T/ :.l:JV "Nolo "" u.uN ://0 .1:111 '''!l3 ://::I.1:JVll IIH:J soon IlH.1.:l0 S3Nfl.180.:l Oil or :1 :J ~ U""O.ifj UDfJPtI :1ID..L:Jt' 10'"D :1I3.L:JnIY1I:J / BOON:FIB.! .:10 SIlNfUHOd snJ04J :8NIH30N3H - /\ 3.lVld .wow..'rr.'-l ··'-d'-'l ~::>~ ~"AFZrJ .11I'(J,J.:)'" '''''''IJ ·1IU,jl'1l t'/C} , I !' HOOW:lHJ. so S:lNfU'80d FORTUNES OF THE MOOR ./ ./ / ------./ / / I / ,I CIIA RAC TER: Brabamto AC TOR: CarneVGray AC T: t.v.. u-.. '--_.". PLATE VI - RENDERING: Brabantio 55 9 ~ OU8!l8J8 :8 NIH30 N3 tl - 111\ 3.L\fld '!" "!II '7!' /I "'" "W/ :.LJ.... ulqna ,w,iJ.I·r 'I/OD I' OUUI"'J9 ' 1/3D I'III' H:J ) . - / , ., . r •• CO ,' . " . 1." / HOOW:JIlL .10 sssruso» (X}!/\OPOl : 8 N I H3 0 N 3 ~ - 111/\ 3.lVld OM 'ru .,,, "m ··W/ :.J::n' '"'''''0 " {'D : 1/ 0.D ~ OO,'Op ! / 800W::JHJ. so S3NfUHOd 8S "!11 'rtt "I!{'I ,'.LJ to' ..3fJDB .1f'u'M '/fODI' UOUDIB '3.l :JI'If I'H:J ., . I / / NOOlf3H.1 so SIlNfJ.180d 6<; 0IOjOlSP48 :8 Nltl30 N3 tl - X 31Vld .11'/ :.J:) ~ "qaN flJq::> : 1I (l..L ::> ~ ofOf o/n.ll(J : II:JD nJ ~H::> i I I / l NOON:IH.L ./0 ssstustu 09 oosaouaij :8 NICl 3 0 N3 Cl - IX 31.Vld ·", '·,\1 '·111'1/ :.L:JY "'OW 3" .') :1I0.LJ fI O'~ rJ.I:1 :1I::I.LJ fl/l flH:J I r / soow ::1H.1./0 S3NfJ.180d 19 J8~lOIl\J pU8J 8 A8 t1 :8 Nltl3 0 N3 t1 - IIX 31V'ld .'" ..... "1/ ·n ... Dm'IJ'lo,'O :I/ODY .J~lI loW pU~.Jf}t'WH :1I3.LJnJ nI:J / HOOW::JH.1 .:10 s:JNfl.1HOd euu'v'J8lS!S : 8 N I ~ 3 0 N 3 ~ - IIiX 31'v'ld "-/1 :.l.JI' ::Jopw 9 ;I.JJUJ ."1ID.lJt' DUUr .J~IJo·IS :lI3J.:JYJlflH:J I i i i HOOlf 391. .:/0 S3NfUHO.:/ £9 S8!pel uell8U81\ :8 NltJ 30 N3 tJ - I\IX 3.L'fld Oll! JIIV JS0::J ~U'J~YI0:J :1I0 ..J.:) .... SWIMfj Y" 9DZJfJ :I/OD " ,0 JDd >!OWl :I/OD " f. ,{po'] UD,,,u, ,1 :1/3.JJ t'Ifl'H:J l/' "PtY/ UD' ,,,,,, ,1 :1/3.JJ l'IInI::> I. "PtY/ UDI/> . - -.--. NOON stu so S3Nfl.l80.:l \79 U8WOM 18 LHOJ8 UB!l8U8/\ :8 NIC:l 3 0 N3 C:1 -I\X 31'tfld ------··----·-·:c·'Oi?i" j ( J ) I / - - - - NOON 3H.L./O s::JNfUHOd S9 a:)uea 6u!uado :HdVC:I 8 0 10 Hd NOI1:)naO~d .- I/\X 31'v'ld , 99 an60lOJd :Hd'Vt:l80.10Hd NOl.1JnOOHd - IIAX 3.1'Vld L9 oWl P'v' 'OIO!OlS!J4J 'ooixopo'j : Hd~80.10 Hd NOI.lJnaOC:ld - 1I11\X 3.1'v'ld 89 ""'"I P'v' 'O!lueqeJ8 'Oue!leJ8 :HdVCJ8010Hd NOIIJnaOCid - XIX 31'v'ld 69 ·!" ·II PV 'lseJ : H d ~ 80 .l 0 H d NOl.lJnaOCld - XX 3.lVld