To piggyback on Jenny's question/comment from an earlier post- what about the role of the actor in the development of the design?
When the text itself is experimental or develops organically in the production process, how does that effect the role of the actor in the development and execution of the design?
This is always a sticky spot between actor and designer- how many of us have heard "This isn't what I thought I would be wearing..." or "I don't think I would wear these pants..." and other more direct refusals of designs. But what happens in a situation where the actor is author? How does this effect not just process, but the sharing of "creative license" as well?
Subscribe to:
Post Comments (Atom)
4 comments:
I think designers have underestimated the role of the actor in the design process. Designers are stinted because of those "sticky spots", yet some actors may actually have interesting insights to their character, especially in experimental productions when you as the designer may not be going to ever rehersal.
This is a sticky area to be sure. While I understand the actor wanting a say in what they are wearing, as designers our job is to look at the production as a whole and to see how each person fits into the overall design. Many times when an actor has offered a "suggestion" it goes against the overall (dare I say it) concept. In a situation when someone is suggesting a change that I don't agree with, either for conceptual or aesthetic reasons, rather than flat out refusing I try to discover where their question is coming from and see if there is perhaps a better answer then the one they are offering.
In a experimental situation like the one I am getting into, I think it is esential for the desinger to be more closely involed in the process. In my project I will actually be filling the roles of designer, author, and potentially actor. That's not a situation that will appeal to everyone, but for a devised theatre production such as this I couldn't imagine it working if my involvement was limited to attending a couple production meetings and drawing some pictures.
I heartily agree with Erika and Jenny. I think when possible, designers should meet with actors before finishing their work/concepts, if for no other reason than many actors have talent and creativity, but fragile egos and are extremely self-conscious about what they look like (on stage and off). Sometimes if an designer meets with actors beforehand and explains his/her plan for costumes, said actors can come to love said costumes they might otherwise object to if sprung on them, fully made, at the first dress rehearsal. Speaking as an actress myself, I know almost nothing about costume design, but I do know how to get inside a character and know her inside and out, so I think I can be very helpful to a designer in helping her/him decide how much cleavage a character would show or what colors she might wear, but not what women of a particular time period might deem descent or fashionable. I think when a designer and an actor can collaborate and be open to each other (and learn from each other!) the result can be brilliant!
I find actor's comments can easily fall into the categories of comfort and vanity. And by comfort, I mean an actor who says "I don't like to perform in anything but sweats" and when you do put them in sweats (according to the design of course), they say "Sweats are too hot". Those are the actors I end up ignoring all together. However, when an actor is concerned and offers useful commentary on the character we are both trying to create, I listen up. Particularly in more experimental (I'm thinking fusion with puppetry or masks) modes, the input, especially when an actor has performative experience in that mode, can be invaluable. But they also probably need to be rehearsing with mock ups from day one, if the costume pieces are going to be that integrated into character development. A problem of lead time, as usual.
Post a Comment