Costume Design for The Comedy of Errors by Stacey Glenn Thomann B.A. in History, May 2009, Elon University A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Fine Arts May 19, 2019 Thesis directed by Jeannette Christensen Costume Design Faculty, Spring 2019 © Copyright 2019 by Stacey Thomann Hamilton. All rights reserved ii Abstract Costume Design for The Comedy of Errors This thesis serves as a record of the process of designing and building costumes for the production of William Shakespeare’s The Comedy of Errors produced by The George Washington University at the Dorothy Betts Theater in Washington D.C. The production opened February 14, 2019 and closed February 17, 2019. This rendition was directed by Matthew R. Wilson, Associate Professor of Theater. The scenic designer was Pancharee Sangkaeo, the lighting designer was Jolien Louis, the sound designer was John Traub, and the stage manager was Calista Ragland. The intent of this thesis is to examine the importance of the concept stewardship, rather than ownership, of design in the collaborative process of theatrical design. Discussion of this concept is supported by the inclusion of costume sketches and final renderings along with production photos. iii Table of Contents Abstract ............................................................................................................................. iii List of Figures .....................................................................................................................v List of Tables ......................................................................................................................x Glossary of Terms .............................................................................................................. xi Chapter 1 - Introduction & Script Analysis .........................................................................1 Chapter 2 - Collaborative Process........................................................................................5 Chapter 3 - Design Process & Research ............................................................................10 1. The Gender Non-Issue ...................................................................................... 10 2. An Optimistic Proposal ..................................................................................... 13 3. The Sisyphean Redesigns ................................................................................. 17 4. Finding the Abstract .......................................................................................... 23 5. Finally, final!..................................................................................................... 26 Chapter 4 - Realization of Costumes .................................................................................28 Chapter 5 - Reflection ........................................................................................................34 Bibliography ......................................................................................................................37 Appendix A - Research Images .........................................................................................39 Appendix B - Sketches.......................................................................................................64 Appendix C - Final Renderings .........................................................................................97 Appendix D - Production Photos .....................................................................................114 Appendix E - Paperwork ..................................................................................................134 iv List of Figures Figure 1 Roman research: Isis, 1st half of 2nd century AD, Kunsthistorisches Museum Wien, Vienna, Austria ............................................................................................... 39 Figure 2 Roman research: Sabine, wife of Emperor Hadrian, 136AD, Museum of Fine Arts, Boston, Massachusetts ..................................................................................... 40 Figure 3 Roman research: sculpture of an Emperor, 1st century AD, the Walters Art Museum, Baltimore, Maryland ................................................................................. 41 Figure 4 Roman research: bust of Emperor Marcus Aurelius, 170-180AD, Kunsthistorisches Museum Wien, Vienna, Austria .................................................. 42 Figure 5 Roman research: relief from a monument to Marcus Aurelius, 176-180AD, Musei Capitolini, Rome, Italy ................................................................................... 43 Figure 6 Modern research, Alexander McQueen, spring 2009 ......................................... 44 Figure 7 Modern research, Alexander McQueen, fall 2008 ............................................. 45 Figure 8 Modern research, Alexander McQueen, pre-fall 2013 ....................................... 46 Figure 9 Modern research, Alexander McQueen, spring 2013 ......................................... 47 Figure 10 Modern research, Alexander McQueen, pre-fall 2019 ..................................... 48 Figure 11 Modern research, Alexander McQueen, fall 2010 ........................................... 49 Figure 12 Modern research, Alexander McQueen, fall 2013 ........................................... 50 Figure 13 Modern research, Gareth Pugh, spring 2015 .................................................... 51 Figure 14 Modern research, Gareth Pugh, fall 2014 ......................................................... 52 Figure 15 Modern research, Gareth Pugh, fall 2008 ......................................................... 53 Figure 16 Modern research, Alexander McQueen, menswear fall 2018 .......................... 54 Figure 17 Modern research, Alexander McQueen, menswear spring 2018 ..................... 55 v Figure 18 Modern research, Dressing a Galaxy: The Costumes of Star Wars, pg. 48 ..... 56 Figure 19 Modern research, Dressing a Galaxy: The Costumes of Star Wars, pg. 59 ..... 57 Figure 20 Modern research, Dressing a Galaxy: The Costumes of Star Wars, pg. 174 ... 58 Figure 21 Modern research, Dressing a Galaxy: The Costumes of Star Wars, pg. 103 ... 59 Figure 22 Modern research, Pattern Magic ....................................................................... 60 Figure 23 Modern research, Pattern Magic 3 .................................................................... 61 Figure 24 Modern research, Pattern Magic 3 .................................................................... 62 Figure 25 Modern research, Pattern Magic ....................................................................... 63 Figure 26 1st design round, Dromio of Ephesus .............................................................. 64 Figure 27 1st design round, Dromio of Syracuse ............................................................. 65 Figure 28 1st design round, Adrianna ............................................................................... 66 Figure 29 1st design round, Adrianna alternate ................................................................ 67 Figure 30 1st design round, Luciana ................................................................................. 68 Figure 31 1st design round, Luciana alternate .................................................................. 69 Figure 32 1st design round, Duke Solinus ........................................................................ 70 Figure 33 1st design round, Dr. Pinch .............................................................................. 71 Figure 34 Color palette ..................................................................................................... 72 Figure 35 2nd design round, Adrianna ............................................................................. 73 Figure 36 2nd design round, Luciana ............................................................................... 74 Figure 37 2nd design round, Merchants ........................................................................... 75 Figure 38 2nd design round, Officers ............................................................................... 76 Figure 39 3rd design round, Adrianna .............................................................................. 77 Figure 40 3rd design round, Dromio of Ephesus .............................................................. 78 vi Figure 41 3rd design round, Dromio of Syracuse ............................................................. 79 Figure 42 3rd design round, Abbess ................................................................................. 80 Figure 43 3rd design round, Antipholus of Ephesus......................................................... 81 Figure 44 3rd design round, Antipholus of Syracuse ....................................................... 82 Figure 45 3rd design round, Duke Solinus ....................................................................... 83 Figure 46 3rd design round, Luciana ................................................................................ 84 Figure 47 3rd design round, Luce ..................................................................................... 85 Figure 48 4th design round, Adrianna .............................................................................. 86 Figure