Costumes A Midsummer Night's Dream is one of Shakespeare's most whimsical plays, and therefore this production follows in its spirit. Designing costumes for A Midsummer Night's Dream allows for total creative license, as the play takes place within a fantasy world replete with fairies. The overall impact is captured well by an artist at Duke (image credit: http://sites.duke.edu/midsummer/files/2009/12/Study_for_The_Quarrel_of_Oberon_and_Titania.jpg): This image is a study for what Oberon and Titania might look like. The

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

Costumes in Les Miserables (1998) Directed by Bille August 1998's Les Miserables' costumes were designed by Academy Award-winning costume designer Gabriella Pescucci. Pescucci had previously won for The Age of Innocence and been nominated for The Adventures of Baron Munchausen (1993). While her work for Billie August's Les Mis would go unnominated for any major awards, the costumes are nonetheless on par with her previous work and reflect the authentic style

EXODUS Costume review: Exodus: Gods and Kings It is always challenging to re-create historical costumes of a past era; it is even more challenging to do so when that era is Biblical times, given the religious significance attached to that period. People seeing the film with have strong, established ideas of how characters 'should' look based upon their personal beliefs and the numerous previous depictions of this era. Recreating images which had

Othello Costumes Designing costumes for Othello, in whatever form -- play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona

In conclusion, costumes are used in two essential ways in the film. The first is that it reinforces the sense of normalcy and creates a background that juxtaposes and heightens the horror and drama of the film. The second use of costume in the way that Bates dresses as his mother is a complete transgression of normalcy and psychologically and socially diametrically opposed to the mundane costumes worn by the