A Midsummer Night's Dream Costume Design
Faculty Sponsor(s)
Laurel Peterson
Location
Jereld R. Nicholson Library
Subject Area
Theatre Arts
Description
This presentation is of my final design for the Costume Design course offered by the Theatre Arts department. For this production of A Midsummer Night’s Dream, I chose to set the play in the American South during the late 1960s and early 1970s. I did not want to create a traditional setting for the show. I have seen Midsummer set in a variety of time periods prior to the 20th century. Thus, I wanted to find a time period in which the characters could be accurately portrayed. The biggest problem presented during this revolved around Egeus’s dislike of Lysander and the option of killing Hermia if she did not submit. Given the violence in the South at this time period, I thought that it was a perfect fit. It could also provide an interesting commentary on the time period that may help the audience understand the language of the play.
For the mortals I wanted to stick with a more conservative look that came out of England though was seen in the states. The British look at the time period was full of tweeds and suit-like clothing pieces. Of the lovers, Demetrius would be closest to this look. He would have a traditional Teddy-boy look. The lovers as a whole would have more modern fabric, more American fabric, including Demetrius. However, the other three lovers would be in more of the American style, which was generally brighter with looser fits.
The mechanicals would be blue-collar workers. Thus traditional uniforms for modern versions of their original careers would be worn. Quince, the carpenter, could even be a hillbilly-esque wood carver. Snug, the joiner, could be a furniture builder or repairman. Flue and Snout could be car mechanics. Starveling could either stay a modern tailor or become a retail clerk. Bottom’s original profession, a weaver, is more difficult to translate to modern day. Given his way of speaking, Bottom could be a car salesman.
For the fairies, I pictured them in early 1970s clothing with elements of the ‘60s. I wanted a more flowing look for the fairies, for Titania, I would like to see her wearing something more flowing to contrast the mortals and a fit that is more fashion forward for the time period. I picture her in a glamorous dress inspired by leaders of fashion trends, like Diana Ross. For Oberon I pictured him following a similar fashion icon, a rock star for a little glitz and glamor, which would have a more modern style but keep the colors similar to Titania’s. There was a small trend at the beginning of the ‘70s that harkened back to the renaissance and I would like to follow that for the silhouette. Puck would be a mixture of the late ‘60s and early ‘70s bad boy, whether it is more psychedelic or Rocker.
Recommended Citation
Bennett, Rhianna M., "A Midsummer Night's Dream Costume Design" (2015). Linfield University Student Symposium: A Celebration of Scholarship and Creative Achievement. Event. Submission 79.
https://digitalcommons.linfield.edu/symposium/2015/all/79
A Midsummer Night's Dream Costume Design
Jereld R. Nicholson Library
This presentation is of my final design for the Costume Design course offered by the Theatre Arts department. For this production of A Midsummer Night’s Dream, I chose to set the play in the American South during the late 1960s and early 1970s. I did not want to create a traditional setting for the show. I have seen Midsummer set in a variety of time periods prior to the 20th century. Thus, I wanted to find a time period in which the characters could be accurately portrayed. The biggest problem presented during this revolved around Egeus’s dislike of Lysander and the option of killing Hermia if she did not submit. Given the violence in the South at this time period, I thought that it was a perfect fit. It could also provide an interesting commentary on the time period that may help the audience understand the language of the play.
For the mortals I wanted to stick with a more conservative look that came out of England though was seen in the states. The British look at the time period was full of tweeds and suit-like clothing pieces. Of the lovers, Demetrius would be closest to this look. He would have a traditional Teddy-boy look. The lovers as a whole would have more modern fabric, more American fabric, including Demetrius. However, the other three lovers would be in more of the American style, which was generally brighter with looser fits.
The mechanicals would be blue-collar workers. Thus traditional uniforms for modern versions of their original careers would be worn. Quince, the carpenter, could even be a hillbilly-esque wood carver. Snug, the joiner, could be a furniture builder or repairman. Flue and Snout could be car mechanics. Starveling could either stay a modern tailor or become a retail clerk. Bottom’s original profession, a weaver, is more difficult to translate to modern day. Given his way of speaking, Bottom could be a car salesman.
For the fairies, I pictured them in early 1970s clothing with elements of the ‘60s. I wanted a more flowing look for the fairies, for Titania, I would like to see her wearing something more flowing to contrast the mortals and a fit that is more fashion forward for the time period. I picture her in a glamorous dress inspired by leaders of fashion trends, like Diana Ross. For Oberon I pictured him following a similar fashion icon, a rock star for a little glitz and glamor, which would have a more modern style but keep the colors similar to Titania’s. There was a small trend at the beginning of the ‘70s that harkened back to the renaissance and I would like to follow that for the silhouette. Puck would be a mixture of the late ‘60s and early ‘70s bad boy, whether it is more psychedelic or Rocker.
