FIGURE 50

COSTUME DESIGNS FOR ACT I OF ROSTAND'S "THE ROMANCERS"

The plate on the opposite page shows the possibility of working out costume designs with a class or group. Each student was given a set of figures like that shown in the first line (1). The other sets show four different conceptions of the play, as drawn by four different students. The original figures and costumes were just twice as large as those in the illustration.

A detailed study and comparison of the drawings shows many interesting things about costume designing.

2. This set of medieval costumes would probably have been better had the colors been made brighter, especially in the costumes of Straforel, Percinet and Sylvette. Percinet's costume especially is not gay enough for the young gallant that he is painted by Rostand. Straforel's costume is a little too "spotty," and contains too many colors. It would have been better, perhaps, to have made his doublet red, a different red than was used for the lining of his cloak. Or else the lining of his cloak and his plume might have been made a yellow-orange. Good features of the design are the exaggeration in the hat of Straforel, and his unusually large boots. Notice the variety introduced in the costumes of Bergamin and Pasquinot, by the variation in their sleeves.

3. Notice how the costumes of Percinet and Sylvette, in this set of designs, and in set 4, are "tied together" by the use of green and yellow. The lines of the costume of Percinet are appropriately smart and dashing. The silhouettes of the two old men are probably too similar in outline. Variation might have been introduced by the use of a different cloak for one of them; for example, either a short cloak or else a huge enveloping one. The long fall of lace in Pasquinot's coat is an excellent device, however, and would probably distinguish them from one another on the stage.

4. The bright colors of the costumes of Straforel and Percinet are effective. Pasquinot and Bergamin have costumes of rather similar silhouette, but the large black cuffs on Bergamin's coat help make the costumes distinctive. In this, and in fact in all the designs here shown, the paler colors used in the costumes of the old men are excellent.

5. This is an amusing conception of "The Romancers" in modern dress. It is an example of how varied and how attractive modern costumes can be. Notice especially how the two old men are made distinct, by the long buttoned coat of Bergamin and the short open one of Pasquinot. No student seems to have thought of making one of the old men noticeably more stout than the other, which would have been an excellent thing to do.

sional and nonprofessional stage. Here is where a costume plate is very useful. The designer can show each actor what he should be, and the actor is usually sufficiently impressed by a drawing to attempt to approach it as closely as possible. When the actor is to provide the costume, it should be brought to the theater and inspected and checked up by some observing person, even though there is no costume plate to check it with. Amateurs must be warned about last minute changes in costume. After the evening dress that the heroine is to wear in the last act has been chosen and approved, it is very annoying to have her appear in "Aunt Jennie's Paris dress which she thought would be so much nicer!" People are often very anxious to lend coats, and sweaters, and hats for amateur performances, but last minute inspirations of this sort are to be discouraged.

The Need for Appropriateness

In modern, as in historic costume, the aim must be for appropriateness. It is a human failing for actors and actresses to want to look their best before their friends, but this desire should give way before the artistic demands of the play. When the heroine and her sister are discovered in the first act so povertystricken that they are renting the old family home, illusion is dealt a severe blow if the ladies insist on appearing in newly purchased suits, hats, and furs of the latest style.

Of course, common sense and tact must guide. lection must be made from what is available.

Se

But the

point is that selection is necessary, and its purpose and its value should be made clear to everybody concerned.

RENTING COSTUMES

The Value of the Costume Plate

When renting costumes, the costume plate explains what is wanted and saves time and labor. The plate may be sent to the costumer if costumes must be hired from a distance, or a representative of the group may be armed with it when he is interviewing the customer. As a rule, the plainest costumes, of solid colors, are much the best, and should be insisted upon. Especially to be avoided are the gaudy military uniforms of bright colors and synthetic leather, that obviously are made for the stage and not for service. Everything that is "tricky" and over ornate is bad.

Possibility of Creating Nonexistent Costumes

Even where the costumer does not have what is called for, the costume plate will help in the making of a more satisfactory choice. The costumes represented in the frontispiece were rented from a costumer who had nothing similar to the design, and it was necessary to take eighteenth century "period" costumes. It was possible, however, to approximate the colors, and the garments chosen were of the very plainest sort. The costume of Sganarelle, the leading character, seemed impossible at first. As may be seen, the artist conceived him as a sort of buffoon, a character out of the Italian Comedia del Arte. This is the conception of