Costuming in Shakespeare's Plays in General and

Costuming in Shakespeare's Plays In General And Othello In Particular, In Elizabethan Times And Throughout History Costuming has always represented one of the most important -- and expensive -- features in the preparation of theatrical performances. In fact, Grimball and Wells suggest that the success of every period play and pageant depends largely on the effectiveness of the costume design.

This paper will provide an analysis of costuming in Shakespeare's plays in general and Othello in particular, both in Elizabethan times and throughout history, followed by a summary of the research in the conclusion. Costuming in Elizabethan Era. Generally speaking, the art and designs of every period can help to illustrate characters and the specific requirements of a particular phase of civilization can be interpreted through costumes.

According to Nostbakken, in most of Shakespeare's plays, the costuming used was the most important component of the devices used to communicate the theme and action on stage, and tended to be much more elaborate than the props or sets used for such productions, particular as they applied to public figures such as kings or dukes. Costuming for early productions of Shakespeare's plays largely attempted to convey both the era and the social station of the characters involved (Brown, Hardison, Leiter et al.).

Unlike his other works, though, "Othello, a play with few ceremonial scenes or royal figures, does not offer the same opportunity for elaborate, showy attire as other Shakespearean plays about kings and courts but costumes certainly would have indicated characters' class or stature" (Nostbakken 125). In these early versions of Othello, there were some clear indications provided that indicated who was nobility, which actors represented fantastical characters, as well as those of the lower class such as soldiers and peasants.

For example, in Othello, the Duke would have likely been dressed impressively; the difference between a military captain such as Othello and ordinary troops of the lower class would have been readily apparent by their costumes. The costuming used by these designers was intended to reflect the current English styles rather than attention being paid to historical or cultural accuracy. For instance, Nostbakken suggests that the most distinctive aspect of Othello's appearance in these productions would have been the black makeup used to distinguish him from the other characters (2000).

Costuming Post-Restoration. Compared to the sparse stage and simple props used in early 17th century public playhouses, the stage sets in post-Restoration theaters became a much more elaborate, detailed and important part of theater performances.

According to Nostbakken, these productions featured technical innovations that allowed for quick and easy changes in scenery, but these were not necessarily intended to communicate any historically or culturally significant details about the action on stage and in many instances, Othello's backdrop did not specifically represent a specific setting, with the emphasis being on the aesthetic. During this period, the same philosophy applied to costuming as well; for instance, "Othello, for example, might typically appear in a British military uniform.

Iago's villainy was often noted by a black wig and black eyebrows" (Nostbakken 134). From 1700 to approximately 1900, however, occasional exceptions challenged this standard approach to costuming. For example, Nostbakken reports that an 18th eighteenth-century actor added a turban to the traditional English costume, generating more contempt than respect among audience members for his efforts. Another actor, though, was greeted with a more positive response by playing Othello in the loose-fitting garment of a Moor rather than a British soldier.

As the 20th century approached, still another performer elected to wear Oriental robes and jewels to emphasize Othello's exotic character rather than his military position. According to Nostbakken, "More than the garments themselves, the makeup used to indicate Othello's race became a crucial and controversial aspect of costuming as the slavery movement radically changed English and North American perceptions of black people and interracial marriages" (emphasis added) (134).

In this regard, Laurence Olivier's portrayal of a "realistic" or "modern" Othello for John Dexter's 1964 stage production at the National Theatre in London is widely regarded as an icon of the character today (see graphic at Appendix A). By the end of the 20th century, the costuming for Othello had come full circle; for instance, Hall notes that Trevor Nunn used a minimalist stage in a converted tin shed, known as The Other Place for his 1989 RSC Production of Othello.

This environment was highly suited to modern media productions, and differed dramatically from the stages of Shakespeare's ear. Hall suggests that this production was widely regarded as being completely contemporary and post-feminist with its theme of how evil can thrive in a structured military community. Conclusion The research showed that it is important for the costume designer to have some knowledge.