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The Costuming of Hair

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The Costuming of Hair Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1980 The oC stuming of Hair: An Interdisciplinary Study Mary E. Yarbrough Eastern Illinois University Recommended Citation Yarbrough, Mary E., "The osC tuming of Hair: An Interdisciplinary Study" (1980). Masters Theses. 3110. https://thekeep.eiu.edu/theses/3110 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their _library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. lcR - If- 6]; Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because --------------- Date Author The Costumin~ of Hair; An Interdisciplinary Study (rlTLE) BY Mary E. Yarbrough Major paper in lieu of THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in Related Arts IN THE GRADUATE SCHOOL, EASTERN IUINOIS UNIVERSITY CHARLESTON, ILLINOIS 1980 YEAR ·/.,~~&11!,iJI,ation Co~mit.,tee,,. Carl Wilen Dr. E.G. Gabbard I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE ./J.&c.,. ~, {'l ff) DATE 'fk j {""' 1770 DATE' The Costuming of Hair: An Interdisciplinary Study (TITLE) BY Mary E. Yarbrough Abstract Major paper in lieu of THESIS SUBMlmD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in Related Arts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1980 YEAR ,/ .Exam7tion Committee 1 Carl Wilen Dr. E.G. Gabbard I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE C>' OEPTMENT HEAD 3C/9875 This paper discussed the interdisciplinary study of costuming in general and specifically that of the musical, Hair. In addition to the discipline of theatre, costuming employs several other art forms and thereby may be consider­ ed an interdisciplinary art form. Basic to the development of costumes for Hair was knowledge of literature, visual arts and history. It is necessary to read and interpret a play very carefully in terms of relating the written words of the script to the costumes of the character. The actual designing of costumes entails basic drawing and design abilities as well as a creative artistic approach. In cases where a specific historic period is being used the research often includes art history books. By studying paintings and sculpture from a specific era one is able to establish a general flavor of the time period. Costume design is an interdisciplinary art form from the stand­ point that it cannot stand alone as a separate entity and must include various art forms to be successful. It is extremely important that a designer have a firm grasp on the content and message of the play~ Hair, written by Gerome Ragni and James Rado-in 1969 can best be described as an anti-war play. The action of the play takes place in New York City in 1969 during the height of the hippy protests against the Vietnam War. This was a time of great individuality in dress and in mode of living. It was necessary, therefore to examine each character thoroughly in order to get a sense of his or her inner being. The director and designer agreed to emphasize the gentle aspect of hippies rather than concentrate on the rebelliousness of the era. In costuming an educational theatre production one of the items of greatest importance is the budget. During the late Sixties there was great emphasis placed on pre-owned clothing. Therefore, it seemed feasible to take most items from the vault and alter them to fit the actors and their roles. The following items had to be designed and construe -ad: a caftan and maternity padding for Jeanie, a satin shirt and one enormous dress which was designed to fit three actors while they performed enbloc. Musical theatre always presents the challenge of designing for the choreography. Hair was an extra challeng because of the rigors involved with the choreography. Clothing was constantly being repaired because of the strenuous leaps. It was necessary to very carefully secure wigs and hair pieces to withstand the vigorous movement involved with the choreography. Most of the costumes for Hair were coordinated rather than constructed. All of the articles of clothing and accessories that were considered costume possibilities were taken from the vault and divided into groups according to size. After carefully choosing specific items for the leads, the chorus was then costumed according to size. Chapter V discusses the costume design and technique for each of the lead characters. It has been the intent of this writer to describe tne interdisciplinary techniques used in designing a production in general and specifically Hair. It is assumed that this project will be useful to the writer's career development and to other designers should they choose a project. Dedication This work is lovingly dedicated to the memory of my first teacher, my mother, Helen E. Stone. List of Illustrations Illustration I : Berger . 26 Illustration II Claude . .. 28 Illustration III Woof ............................... 30 Illustration IV: Hud . 32 Illustration V: Bud: 34 Illustration VI: Sheila 36 Illustration VII: Jeanie 38 Illustration VIII Dionne 40 Illustration IX: Crissy .............................. 42 Illustration X: Three-person dress 44 Illustration XI: Chorus .............................. 46 Ta15Te or c.;oni:eni:s Title Page ...........•...........•...................... Dedication . .. ii Table of Contents . iii List of Illustrations .......... ~. •· ................... iv Preface . V Acknowledgments •••••••• • • • ••• • • • ••• • ii • • • •• • •• • • • • • • • • • i X Chapter I . ~ . 10 Chapter II . 12 Chapter III . 18 Chapter IV ............................ •· .............. 21 Chapter V . 25 Chapter VI . 4-8 Appendix ...•.............................. •· .......... 50 Footnotes ............................................. 65 Bibliography .......................................... 68 Preface The following quotes and excerpts have been chosen to give the reader a flavor of the hippy era. The Sixties will be recorded in American history as the Decade of the Revolt of Youth. Historians may note that youth has been rebellious and defiant since the time of Plato, but they may not ignore the currently growing. power of young voices in American society, a power which may well mold the shape of social institu­ tions in a manner never before noted in h istory.. 1 The author asks: "What is a hippie?", and finds definition impossible, as there are many different kinds of hippies on the American scene. The "Hippie Culture" would consist of a conglomeration of Christian mysticism~ Vedic teachings, revolutionary tracts, Madison Avenue pop­ psychology, pseudo American Indian religions, hedonism, and some traditional American values, such as individualism, independence, and frontier courage. Each different group seizes upon certain elements of this set of choices to devote its energies to and to elaborate on. 2 Dress styles, art, music, sexual mores, and the use of drugs have all been influenced in various degrees and ways by phenomena that can be broadly sub­ sumed under the category "Hippy Culture. 113 Popular costumes in the ghetto included bell-bottom trousers for both sexes, mili­ tary uniforms and insignia, ruffled shirt­ fronts and balloon sleeves, beads of various designs, shoulder-length hair often held in place by a headband, wide belts with heavy brass buckles, felt hats, cowboy boots, motorcycle boots, sandals, both pubic-level and ankle-length hem­ lines on females, and various forms of costume Jewe. l ry. 4 So the kids started dropping out. And they wore long hair and beads and all so as to be different from the world they left behind, yeah, but they did it even more so they'd know they weren't alone. Every long haired kid was another friend to support you when you felt like a that in a world of this. And if there would only be enough of us and there seemed to be more everyday -- maybe soon we could feel secure enough to go out and start building our own thing in this world full of strangers. 5 The prehistoric john wayne military nationalism institution is a death form., Being drafted into the army against one's choice is death. 6 The prison uniform for me in Amerieka is the white shirt, tie and sports coat or suit. The prison uniform for women is girdles, bras, stockings, high heels and a painted perfumed mask. That uniform symbolizes the fact that you owe your soul to Business Americka, the necktie around your neck is like a hangman's rope around your neck. The uniform means you are working for 7 someone else. Hair naturally grows -- to cut it or • . l 8 saveh it JS unnatura • Americka loves to destroy the culture of native minorities, from blacks to Vietnamese -- and now we, Americkas children, had become a f~reign minority whose local cultures were being des­ troyed, raped by -an imperialist culture. Cutting our hair is an act of cultural genoci"d e. 9 Americka treats its pets better than . 10 it treats its minoPity groups. In 1969 the revolution broke out in the south and in March there were 10,000 freaks on the steps of Nashville, Tennessee, Capital Building chanting FUCK YOU GEORGE WALLACE with a sourthern twang.
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