The underdog in theatre: Costume division
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The glamorous impression of a theatre performance adds to the positive experience for the audience. Visual aspects, such as props and costumes, become the main support system in realising the vision of a performance.
However, oftentimes this support system is valued only by what meets the eye. The actors are the ones getting the spotlight. Props around them are only considered a tool to explain the background of the scene, and costumes to add to the aesthetic impression of the show.
However, each of the supporting aspect plays a much bigger role. For example, costumes are not just there for the aesthetic function, but also to emphasise the characters and story.
According to a research published by Research Clue titled “The Importance and Functions of Costumes as an Inevitable Tool in the Promotion and Development of Theatrical Performance,” costumes in theatre performance contain many non-verbal elements that are supposed to be communicated to the audience.
Each costume and accessories worn by the actors on stage has their own meaning, intended to explain the characters and background of their wearer. This intention can only be realised if the execution done by the costume division goes smoothly. However, even though it plays a crucial role, the costume division is one of the divisions that doesn't get enough appreciation.
TFR interviewed members of the costume division in a theatre group to find out more about how this division works. Angel, 20, is responsible for the costumes for five of Teater Pandora (@teaterpandora) shows.
According to her, research is crucial in preparing costumes for a show. Everything needs a thorough research, starting from time setting to the mood of a scene and the overall story. "From there, the mood board can be set so that we can execute the colour selection; the smallest details of costumes that can support the show," she said.
Fya, 24, worked in the costume division for the FISIP UI theatre, Paradox Theater (@teaterparadoks) for a show titled "Opera Primadona" in 2017.
Fya shared similar experience as Angel. “The work of the costume division is not only putting on clothes on the actors, but also considering the mood of the role as a whole so that we can determine the best costumes for the performance,” she explained.
After doing their research, the costume division then creates a costume proposal which is submitted to the show’s director. There are also tests to see whether the execution of the costumes is in line with the original idea. This test is usually done with the lighting, makeup and other divisions related to the background.
In creating the concept of costumes for a show, Angel seeks inspiration from various sources, from movies and paintings to pictures, which are similar with or corresponding to the background of the show. Fya chose YouTube, Pinterest and Google image.
There are several ways to procure costumes: from buying new and secondhand pieces to sewing them themselves according to the character’s role.
Challenges faced by the costume division in carrying out their duties range from the production stage to the seconds before the show begins.
“There is always a possibility that it will be difficult to find costumes that match the initial concept and accessories that symbolise the characters. This is important because every character has a distinctive style that must be displayed by the actor through the costume," Angel explained.
“Sometimes, the characters have different characteristics from the actors. This can be solved with costumes. For example, there is a character who is depicted as having a large build, but the actor who plays it does not have a big enough body so they do not fit well. This is solved by giving the actor costumes that are filled with foam to create a larger build effect,” said Fya.
During the performance, obstacles are inevitable.
“Timing and tempo are very important to practice in helping actors change costumes for different scenes. Oftentimes the time span is only seconds. For that reason, costume rehearsal is very necessary so that the show can run well without being hindered by costume problems," Fya added.
In addition, she continued, sometimes the costumes or accessories are broken when they are about to be used on stage. The costume division must solve this problem quickly without hindering the flow of the show.
Although they were rarely given appreciation directly, both Fya and Angel feel that if the performance was praised, the costume division also took some credit.
According to Angel, “Theatre is an ensemble. No one is working alone and no one is more significant than the others. The background, costumes, lighting and other aspects play an important role in the continuation of the show.”
Fya shared a similar opinion. “If even only one division does not perform well, the show will not be good. For theatre, teamwork is a very important element. The costume division is just as needed as the actors to support the performance so that it could run well," she said.
Luthfi, 25, the production leader at Teater Pandora, explained the importance of the costume division's role in a production. “To play a role, actors need to bring the character to life. Clothes are part of the life and identity of a role. If the clothes you wear don't match the character you want to show, the show won't look good.”
He said that when an actor receives praise, a part of it was for the costume division. “When people watch a show, they will see the overall show. However, when an actor receives more spotlight than other divisions, you don’t have to be dejected. Becoming a worker behind the scene has its own consequences.”
For Luthfi, actors are indeed at the forefront of the theatre business. Therefore, the actor must be able to use whatever props and costumes given to them. No matter how good the costumes are, it won't mean anything if the actors can't act well.
The opposite is also true. If the actor has portrayed the character well but the supporting elements, such as the costumes, are not as well-executed as the characters, the show will not be optimal.
All elements in the theatre world are in harmony with each other. Neither one is more dominant than the other. Sometimes, the audience just pays less attention to the actors behind the scene.
