Costume Designer

Process Notebook and Viva

BACK

All candidates will need to keep a log of the process. The contents will be skill specific.

It is advisable that all details of the process are kept in a complete folder out of which material can then be selected for more specific submissions such as:

  • Creative Logs
  • Evaluations

Content may include:

General to ALL design and acting candidates:

  • annotated research
  • diagrams
  • photographs
  • sketches
  • charts
  • visual images
  • digital media, including brief recordings of sections of a rehearsal or material appropriate to the skill area e.g. sound clips. These should be no longer than one minute.

Specific to COSTUME DESIGN:

  • evidence of exploring different design concepts
  • fabric and other materials e.g. plastic, foam, wire
  • swatches of fabric and other materials e.g. feathers, sequins, ribbons
  • any treatments for the costume(s) e.g. aging or breaking down
  • construction/sourcing notes
  • images of development of costume(s)
  • make-up designs, images, practice runs etc.
  • video of costume(s) in performance, rehearsal

Viva

Design candidates should prepare and be able to talk about:

Response for choice of stimulus and / or STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Initial responses
  • Inspirations
  • How the stimulus prompted design process

Discussion of TEXT and choice of STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Key elements of the style/ practitioner/ theatre company selected
  • Application to design skill e.g. how the style/ practitioner/ company can be applied to set, lighting, sound or costume
  • Group work and contributions made by the designer
  • Development during rehearsals

Discussion of DEVISED and choice of STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Key elements of the style / practitioner / company selected
  • Application to design skill e.g. how the style / practitioner / company techniques can be applied to set or lighting or sound or costume
  • Group work and contributions made by the designer
  • Development during rehearsals

Specific design elements including, for example:

COSTUME

  • Needs of both pieces
  • Use of materials, fabrics
  • Use of colour, texture
  • Hair and make-up design
  • Style, practitioner/company influences

Design process including:

  • Adapting ideas
  • How the designs grew / developed through the rehearsal process

Clear links between
DESIGN
and STYLE or PRACTITIONER / COMPANY
and STIMULUS

The quality of the design skill is assessed during the performance. In the viva, learners may also demonstrate:

Costume

  • The finished costume – possibly on the actor?
  • Folder of design / concept work – this could be in paper form OR electronic i.e. designs executed through a design package;
  • Design suggestions for ALL characters in the scene;
  • Design concepts on paper including e.g.:
    • photographic evidence;
    • character list
    • character descriptions etc.
  • Annotated script;
  • Evidence of the process e.g. fabric samples, mock-ups, patterns used, photographs of the different stages of construction;
  • Evidence of collaboration with the actors e.g. rehearsal notes, production meeting notes;
  • Effective presentation of costume/make-up samples including, if possible, a demonstration of application?

All relevant to the chosen practitioner / company or style for each piece.