THE EVOLUTION OF THEATRICAL COSTUMES 1 The Evolution of Theatrical Costumes Amari Junkins THTR 185G - Theater History Jeremy Benjamin July 16, 2024 THE EVOLUTION OF THEATRICAL COSTUMES 2 The Evolution of Theatrical Costumes The symbol representing theater is the quite iconic comedy and tragedy masks. These were an essential part of Ancient Greek costuming because they made it easier for audience members sitting far away to see the emotions each character should be portraying (Peterson, 2020). These ancient masks are still iconic in modern society. There are many examples of theatrical costuming throughout history that we still recognize today, and that are a product of the form of theater popular at the time. Even though theatrical costumes have varied greatly over history, each time period has affected further theatrical costuming. Due to clothing being made of perishable materials, most of the information we have on theater costuming during Ancient Greek Theatre is due to paintings on pottery of theatrical events. What we do know is that costumes were used to emphasize characterization, due to the large size of Greek theatres. This meant costumes would clearly define gender and social status of each character, even from a distance. The average costume was based on the normal dress of this time period. These were called the “chiton” or the “hemateon”, according to Karayannakos, a researcher of Ancient Greek Theatre, with a mission to document his research in a condensed online blog (Karayannakos, 2015). These long draped garments were a great way to showcase a character’s class. To showcase gender, the male actors would add padding to imitate the female breasts or the female stomach. There is also evidence that Ancient Greek actors would wear basically heeled shoes to help them stand out to the far audience THE EVOLUTION OF THEATRICAL COSTUMES 3 (Otranto, 2023). Another big part of the Ancient Greek costume was the mask. According to Karayannakos, “ Usually the masks were made of linen, wood, or leather. A marble or stone face was used as a mold for the mask. Human or animal hair was also used. The eyes were fully drawn but in the place of the pupil of the eye was a small hole so that the actor could see.” (Karayannakos, 2015). While we have limited knowledge of what the costuming of this period actually looked like, we can surmise some ideas. We know that the form of theater in this period heavily influenced the costuming, due to the large theaters requiring bigger costumes that you can see from afar. We also know that the costuming of this area heavily influenced the future of theatre. The Roman Era of Theatre (3-5 B.C.E) bases its costuming largely on the Greek traditions. The costuming in this time period also reflected the modern dress, as most characters wore togas. These togas were also used to represent class and gender from a far distance, much like the Greek Period (Otranto, 2023). One of the biggest differences between Greek and Roman theatre is the intricacy of the costumes. Roman costumes became much more elaborate and opulent, to show off the wealth and status of characters. This difference is likely due to the increased wealth of the Romans, as well as focus on entertainment rather than religion in their theatrical ceremonies. We can see here that the costuming of this era was also heavily influenced by the form of theatre in this period. Since the form is similar to that of the Greeks, the function and use of costume is quite similar. Both Roman and Greek costumes THE EVOLUTION OF THEATRICAL COSTUMES 4 represent the modern dress, and are used to indicate gender and status from afar. Even this time period of costuming influenced the future. We can see these with the return to classical structure during the Renaissance. Early Asian theatre incorporates multiple different cultures and styles of theatre. There are three main cultures we touched on in this class; India, Japan, and China. These three cultures are both widely different, and vastly similar in their form of theatre. All three cultures include a more total form of theatre than Europe, one that includes acting, dancing, mime, music, and more. We do not really know anything of what sort of costumes were used in Ancient Sanskrit (Indian) theatre, but we do know that they were most likely elaborate (Wilson & Goldfarb, 2017, 96). There is also not much known of Ancient Chinese costuming, but we do know that it was highly elaborate and colorful. It is said that their costumes look similar to those used in modern Peking Opera. Peking Opera costumes are incredibly colorful, they are made up of almost every color that exists. They contain dresses, robes, and even elaborate headdresses. All of these clothing items are embroidered heavily, a skill that can take years to become talented at (Feng, 2022). In regards to Ancient Japanese theater costumes, we do have some well documented information. This is due to the fact that the Japanese aristocracy heavily supported theatre, while the Chinese aristocracy despised theatre. No theatre, the main form of theatre in Ancient Japan, is still performed to this day. This often used elaborate costumes with the main character having an elaborate mask. It is even stated that the masks for Ancient Japanese theatre are the most effective, THE EVOLUTION OF THEATRICAL COSTUMES 5 beautiful, and intricate of any time period (Wilson & Goldfarb, 2017, 107). Another popular form of japanese theatre, Bunraku (popular beginning in the 1600s), had a very specific form of dress. Bunraku was a form of puppet theatre in which the puppeteers were visible to the audience. This means that they had a very specific form of dress. Two puppeteers wear black, while the chief handler wears an elaborate costume (Japanese Arts Council, 2017). While Asian theatre developed independently of European theatre, we can see some similarities. We can also see how these costumes have impacted future theatre, specifically in Ancient Chinese costuming being incredibly similar to the modernly popular Peking Opera costumes. It is curious how most costumes in this area of the world were quite elaborate, much like the costumes of Ancient Greece and Rome. In the Medieval Period in Europe, there was quite a large variety of costumes. The biggest influence on theatre in this time period was Catholicism and the Church. We can see this reflected in a multitude of ways. According to Encyclopedia Britannica, “Originally, mystery plays were performed in a church before the altar, with the actors, priests, and clerics wearing church vestments. The miracle plays, which retold incidents in the lives of saints, were also originally performed by clerics and actors. Inventories were kept of garments made and bought, and these lists indicate that Adam and Eve were clad in close-fitting white leather, God in bishop’s robes, and Jesus in a simple white robe. Cain, Abel, Joseph, Lazarus, and other biblical characters appeared in contemporary clothes, hoods, pourpoints (doublets), or loose gowns. A THE EVOLUTION OF THEATRICAL COSTUMES 6 female character was indicated by the simple addition of a kerchief on the head. ” (Cruse & Holmes, 1999). Toward the end of the Medieval period, as theatre moved away from the church, costuming because much more elaborate. While regligion was still the subject, characters became artful depictions. Angels were clad in elaborate gold costumes with wings and halos, and devils were made to be realistically grotesque and terrifying. We can see how the form of theatre in this time period, religious theatre, had an effect on the costumes. The costumes were originally understanded and had a code of how each character should dress. These costumes were based on the church’s existing clothing items and did not stray. Even though theatre remained religious, we can see that the separation from the church space causing an elaborate and almost vain shift in costuming. The costuming in the Medieval period seems unique, yet is quite based in the history before it. Religion is often the material, with costuming reflecting the morals and financial funds of that group of people. Into the European Renaissance, costuming took heavy inspiration from classical forms of theatre like the Ancient Greeks and Romans. Theatre, and furthermore, costuming, became a mashup of time periods, both classical and modern. In Italy, the Commedia Dell’arte form used stock costumes that made characters easily recognizable as their trope (Otranto, 2023). Costumes used in court productions during this time period in Europe were highly elaborate, and often represented the modern fashion of this time. In England during this time period, Shakespeare had a huge THE EVOLUTION OF THEATRICAL COSTUMES 7 influence. He utilized both classical and modern costuming. In his play Julius Caesar, characters wore traditional togas (Cruse & Holmes, 1999). Modern fashion was the main costume used in theatre in Elizabethan England, however unique costumes were used to indicate a historic time period, or a racial identity. Meanwhile, Spanish and French theatre used their own style of costumes. Similarly to Elizabethan England, Golden Age Spain used modern dress for most characters, with an elaborate flourish. The only characters with distinctive costumes were evil characters, historical characters, or mythical characters. In Neoclassical France, costumes were also based on modern or historical dress, considering the time period of the theatrical piece being performed (Wilson & Goldfarb, 2017, 258). While this time period had many differences across Europe in their costuming, we can see some similarities. Oftentimes, modern fashion was utilized, unless the costume needed to indicate something special or different about the character. The only outlier is Commedia Dell’arte. This form used some modern dress for the two main characters, but every other costume was unique to the character to represent who they are. We can see how modern theatre has been affected by these historic practices. Modern theatre utilizes modern dress, unless representing a specific historical time. In Conclusion, we can see that theatrical costuming is not only a product of the theatre that has gone before it, but it is highly affected by the current form of theatre. Theatrical costumes have varied greatly over history, yet we can see similar underlying themes even in the most unlikely of places. Each time period has affected further THE EVOLUTION OF THEATRICAL COSTUMES 8 theatrical costuming, even to the present day. We can still see the affects of Ancient civilizations on modern theatrical productions such as Hamilton, Rent, and more. Not only has theatrical costuming provided a consistent analysis of theatre, it provides an insight into form, class, gender roles, and wealth. It provides an insightful analysis of the society presenting theatre as a whole. References Cruse, W., & Holmes, R. (1999, May). Stagecraft - 20th Century Costumes. Britannica. Retrieved July 16, 2024, from https://www.britannica.com/art/stagecraft/Costume-of-the-20th-century-andbeyond Feng, J. (2022, December 27). Peking Opera Costumes: A Display of History, Culture and Fine Craftsmanship. All China Women's Federation. Retrieved July 16, 2024, from https://www.womenofchina.cn/womenofchina/html1/culture/2301/3145-1.htm THE EVOLUTION OF THEATRICAL COSTUMES 9 Japanese Arts Council. (2017). Invitation To BUNRAKU. Invitation To BUNRAKU. Retrieved July 16, 2024, from https://www2.ntj.jac.go.jp/unesco/bunraku/en/performer/performer3.html Karayannakos, E. (2015). Costumes. Ancient Greek Theatre. Retrieved July 16, 2024, from http://www.greektheatre.gr/on-stage/costumes/ Otranto, E. (2023, September 27). History Meets Artistry: The Historical Journey of Theater Costumes and Opulence. M.S. Rau. Retrieved July 16, 2024, from https://rauantiques.com/blogs/canvases-carats-and-curiosities/all-the-world-sa-stage-the-artistic-history-of-costumes Peterson, C. (2020, June 20). The Origins of the Comedy and Tragedy Masks of Theatre — OnStage Blog. OnStage Blog. Retrieved July 16, 2024, from https://www.onstageblog.com/editorials/comedy-and-tragedy-masks-of-theatre Wilson, E., & Goldfarb, A. (2017). Living Theatre: A History of Theatre (7th ed.). W.W. Norton.
