A day of quoting

In order to accomplish my rationale part of the project, I spent a day (to be honest a couple of days) in the library searching for persuasive quotes which would precisely fit into the conception. Here is the wider list of quotes which I marked:

“The costumier must try to produce costumes which appear authentic on stage  but are also adaptable, hard-wearing and practical to wear – quick changes and ease of movement must be accommodated. Cost, of course, is another factor which can never be forgotten” (Kidd, M., 2002)

“Recreating historical costumes exactly is neither necessary nor even desirable” (Kidd, M., 2002)

“Always develop the basic shape of a costume before you tackle the decoration – this is the key to making effective stage costumes.”(Kidd, M., 2002)

“In most amateur groups the money available are extremely limited, and often there is only one person – usually a dressmaker – responsible for designing and making of all costumes.”(Kidd, M., 2002)

“A costumes department consists of the team of buyers, cutters and costumiers…” (Kidd, M., 2002)

“The design of producing costumes today, whether for the professional or amateur stage, can be prohibitive.. the designer on a low budget event must be inventive and resourceful from the start, planning carefully and making use of all kinds of surplus materials.” (Jackson, Sh., 1993)

“Do not be deterred by the restraints of a low budget. Instead, let it be a challenge – avoid wrongly-directed ambition and extravagance and err on the side of simplicity” (Jackson, Sh., 1993)

“Especially valuable experience can be gained when you see the same play in different productions with different sets and different actors. …the goal of production is not doing the play right but making it coherent” (Ingham, R., 2003)

“The lager scene, the other characters, the broader action, are simple eliminated from the picture and the viewers are carried through the story seeing precisely what the writer and the director want them to see” (Ingham, R., 2003)

“Young theatrical designers whose main experience with drama has been through the media of film and television often have difficulty have difficulty manipulating focus in their designs. They are used to seeing everything in detail, up close and selected for them. Their sets and costumes, therefore, have too many areas of interest to allow for any focusing of attention or they may be uniformly bland. Such design are waiting for an outside eye, a camera, to select from them.” (Ingham, R., 2003)

“Designs and performance must, therefore, be flexible enough to allow for a certain amount of variations from performance to performance.” (Ingham, R., 2003)

“Designers, more than any other members of the production team, need to discover the largest amount of possibilities in every  script and find many visual statements that are true to the play so they can absorb  and assimilate all the ideas the director, actors, and other designer have about the play” (Ingham, R., 2003)

“Imagination seldom approaches problems in sequential manner. Instead it produces images, perceptions, and emotional responses which may, on the other hand, present themselves as fragment which seem to have little connection with one another or, on the hand, spring forth whole and intact like Venus in the myth.” (Ingham, R., 2003)

"The designers of sets, of costumes, and of properties must not try to occupy first place in the audience's attention"(Roussel, D., 1973)

"There are times when the designer is not interested in actors at all but only in the creation of rich, sensuous effects in movement on a stage"(Roussel, D., 1973)

References:
Kidd, M., 2002. Stage Costume : Step-by-step. Cincinnati, Ohio : Betterway Books 
Jackson, Sh., 1993. More Costumes for the stages. London : Herbert Press 
Ingham, R., 2003. The Costume technician's handbook. Portsmouth, NH : Heinemann 
Roussel, D., 1973. Stage Costume Design: Technique, Theory, and Style. Englewood Cliffs, N.J. : Prentice-Hall