Detailed data collection of stage costumes

Costumes are costumes worn by actors during performances. It is one of the important means to shape the external image of the role and reflect the performance style. Stage costume originated from life costume, but it is different from life costume. It and makeup are the earliest modeling factors in performance activities. The original intention of stage costume design refers to "aiming at a specific goal, seeking a solution and strategy in the process of planning, and then meeting some needs of people". Although the color of stage costume should be based on the basic principles of chromatics, it is not a pure plastic art work after all. The color of stage costume is obviously different from that of art works, and the color of stage costume has its particularity.

Chinese Name: Stage Costume mbth: clothing categories of Theater: The use of costume for figures and actors: It embodies the evolution, classification, development, foreign and domestic, design, purpose, elements, thinking types, tasks, requirements, cultural background, color characteristics and classification mechanism of human culture. Stage costumes are generally divided into character costumes (drama costumes, including dramas, operas, dances, dramas, drama sketches, and costumes of characters in one-man shows) and actor costumes (costumes of actors such as music, dance, acrobatics, magic, and folk art). In the drama performance of Aeschylus, an ancient Greek dramatist, the actors wore long-sleeved robes, masks and high boots with various colors of flowers to exaggerate the figure of the actors and make the audience clearly recognize them in the distance. By the time of Sophocles and euripides, the characters in the play were mainly dressed in black, which was tragic and close to the style of Ion people at that time. Ancient Greek comedy costumes are even more exaggerated. In the later period, represented by Minand, Greek comedy costumes approached life costumes. In medieval European religious dramas, actors who were also monks used the usual robes as their costumes. In the late Middle Ages, major guilds sponsored performances, so they showed off their wealth and kept up with the competition. Actors wore gorgeous costumes, and fantastic and symbolic stage costumes appeared one after another. During the Renaissance, in the performance of historical dramas, except for jewelry and handwriting, role costumes were very different from daily life costumes. For example, in the performance of Shakespeare's plays, actors usually wear Elizabethan life clothes on stage. 17 the century drama on the palace stage, from costumes to scenery, is competing for beauty, with the aim of showing off. Italian masked comedy (improvisational comedy) is unique. Stereotyped characters must wear masks and special stereotyped costumes on the stage so that the audience can identify them. /kloc-in the 0/8th century, an archaeological trend appeared on the European stage. In order to pursue historical truth and enhance the sense of reality, some ornaments with historical characteristics were added to the costumes. talma, an actor from the French Theatre, took the lead in putting on antique Roman costumes. Later, the archaeological trend became more and more serious, which led to the stage costumes being copied according to the physical objects in the museum. It was not until the 20th century that Ghost, directed by Frenchman A Antoine, and Nightclub, directed by Russian stanislavski, reversed the situation. After 1890, symbolism, expressionism, constructivism, futurism and other modern drama schools appeared in European drama circles one after another, and the once popular naturalistic drama was challenged and rejected. In the performance of modernist drama, the stage costumes of classical famous dramas, including Shakespeare's plays, have also become abstract and grotesque, and the subjective factors of designers have been obviously strengthened, thus becoming a powerful impact. From 1928, British director B. Jackson caused a sensation by performing Macbeth in modern costumes, followed by Romeo and Juliet in Japanese song and dance costumes and Twelfth Night in Arabic costumes. Great changes have taken place in the western concepts of drama and stage art design since 1930s. Realistic and non-realistic dramas have created their own vast worlds in the field of fashion design, forming a diversified pattern. The traditional costumes of China opera are characterized by decoration, exaggeration and dancing, and the stylization of roles is closely related to the stylization of costumes. In the 1920s, under the influence of western drama, China's drama costumes completely got rid of the influence of stylization and entered the stage of life. In the 1940s, the clothes designed by Ding Cong were successfully caricatured on the drama propaganda map. After the founding of People's Republic of China (PRC), most of the more than 3,000 troupes in China have developed their own costume design and production capabilities. Since the 1950s, the Lotus Dance designed by Yu Feng, Qu Yuan designed by Zhang, The Tiger Fu designed by Yan Xiumin and The Teahouse designed by Guan Zaisheng have all reached a high level. Li Keyu's costume in Swan Lake, Othello in Beijing Opera, Lotus Lantern by Mu Yiqing and Li En's costume in the dance drama "The Wind and the Sound of the Mountain" were all well received. In the Shakespeare Festival held in China from 65438 to 0985, Shakespeare's King Lear and Twelfth Night were performed in the traditional costumes of China, which were also recognized by the audience. In other theatrical performances, there have also been "neutral costumes" that do not show a sense of the times and place. Design Purpose The original intention of stage costume design refers to "seeking solutions and strategies to a specific goal in the process of planning to meet people's needs". Stage costume design involves a wide range, including social planning, theoretical model, product design and the formulation of engineering organization plan. Of course, the goal of stage costume design embodies the mechanism of human cultural evolution and is an important means to create aesthetics. Element stage costume design has both "fact element" and "value element". The former explains the state of affairs, while the latter is expressed by theoretical and aesthetic propositions, that is, "good or bad, beautiful or ugly". Different types of stage costume design often focus on different types of thinking. For example, in engineering design, we pay more attention to rational analysis, while in product modeling design and industrial design, we pay attention to the whole process and need to use the factors of image thinking, and in stage costume design, we pay more attention to "aesthetic feeling", and so on. The task of stage costume design is not only to meet individual needs, but also to take into account social, economic, technical, emotional and aesthetic needs. Because there are some contradictions among these numerous demands, the stage costume design task itself contains the coordination and opposition between various demands. In the renewal of modern stage costume design concept, we should also follow the norms of stage costume design and consider these numerous "needs". Different times and regions have different methods to shape the stage image, but in a word, stage costumes should meet the following requirements: ① helping actors to shape the role image; (2) Conducive to the performances and activities of actors; ③ The design should be consistent with the performance style of the whole drama; ④ It should be able to meet the aesthetic requirements of the audience. Cultural background Stage costume design is the primary link of material production and cultural creation. It is always mediated by some cultural form. For example, using roughly the same organic materials to design stage costumes for construction projects, different social cultures will give birth to different architectural forms; Using similar stage costume design ideas, different social norms will also produce completely different stage costume design styles. Color characteristics Although the color of stage costume should be based on the basic principles of chromatics, it is not a pure plastic art work after all. There are obvious differences between the color of stage costume and the color of art works, and the color of stage costume has its particularity. 1. Color should first be based on the image of people. Therefore, the color design of stage costumes must vary from person to person and from style to style. 2. All kinds of stage costumes are stuck on the cloth. As the stage costume made of fabric is worn on the human body, the color of the stage costume changes from a plane state to a three-dimensional state. Therefore, when designing colors, we should not only consider the plane effect of colors, but also consider the color treatment of both sides and back after wearing them from the stereoscopic effect, and pay attention to the visual balance of all angles. 3. Stage costumes are flowing paintings, which will enter various places with human activities. Therefore, the coordination with environmental colors is also a necessity in the color design of stage costumes. 4. In the color design of a set of stage costumes, there should not be too many colors, except for the colors of printed cloth, generally no more than three, and no more than four or five at most. 5. In the color design of stage costume, we should not only have artistry, but also consider its practicality. For example, uniforms in different industries are different in color, and medical staff generally use white or light blue. 6. The color of stage costume should not only pay attention to its personality, but also take care of its popularity. What is popular is popular, so as to better reflect the economic value and social significance of stage costumes.