dressing the part: costume designers bring bard on the beach characters to life

From $21, the power of Shakespeare\'s language is undisputed.
Of course, it is presumptuous to think that the audience will focus on hanging word segmentation when reading in the nude stage, but the final word is the key.
Most of the time, we find ourselves referring to the actor\'s favorite bard work on the beach --
Or clothing.
Because behind the scenes in Bud on the beach is a busy team of skilled designers and technicians, love\'s work for them is far from losing.
They are clothing that determines the production of each season.
Costume designer Christine Reimer and Carmen altorre discuss the process of bringing this year\'s BMO\'s main stage work, \"nothing to do\" and \"Winter\'s story\" to life
It is worth making the language more dynamic.
Just like stage and lighting design shaping performance, costume design guides your experience.
In the buzzing conference room at the beach Olympic village office Bud, the two designers took the time to do the last --
From making masks to the final, everything has slight adjustments.
Adjustment of accessories.
Craft from completely different backgrounds
Retta, a graduate of fiber art from Concordia, has worked at the company for four seasons, although Alatorre is an art historian from Mexico City, she received a degree in UBC clothing design and in the first decade of the company --
The goal is always the same: bring the show to life with spectacular scenes.
Starting with the sketch after talking to the director, the designers began to develop the vision of production in four to six months.
Come back-and-
Fourth, with some changes along the way, the show starts sewing, which can include pebbles from making dresses and suits to custom vintage singers --
Leather sewing machine.
This is equivalent to two months of labor.
\"My show this year is completely different from what I designed, and we have gained a lot of inspiration from the Fellini film and the Italian era of around 1959,\" Retta said: \"When we started with a structured 1950, take a look at the fun, more colorful look of 1960. \".
\"The palette has changed from amore black --and-
At the beginning of white, with the bloom of love, it looks brighter and brighter.
During the study of the final drawings and production, I met the director four or five times.
\"The costumes she designed for a lot of people, in Badri at the beach workshop, there was nothing behind her.
Everyone can come out of their sweet life in 1960.
These are all stylish, elegant, and are clearly the last shot customized for the cast.
Everything about the final contrast needle is decided by the designer.
Consider more factors when making the final work. Our selfie-
A culture obsessed with social media may make everyone look on stage, but actors have unique requirements for their costumes.
\"The show is a comedy full of a lot of schtick and movement, but there are a lot of suit fabrics that stretch so that the actor can climb up the terrace in a tuxedo,\" Retta said.
\"Bud brings its own challenge because it\'s outdoors and starts when it\'s hotter, but it comes across when it\'s getting cold.
I want to make two sets, but I can\'t.
One of the main reasons for the restriction is the cost.
Clothing for one of the products, worth thousands of dollars, will be \"thrown away\" at the end of the run \".
Along the way, there will be an emergency change as the seams fall off, the sleeves get stuck on the stage, etc.
The less modern the appearance, the easier it is to wear.
ForAlatorre created the winter story in the ancient Greek environment, rocking togas to the wet coast, which is its own specific requirement.
\"I did Pericles last year and it\'s more of a Middle East --
But I think it gives you a start . \"
\"It\'s inevitable that designers put a little of their own into it, and so is the director.
But what the show wants to become also plays an important role in the final result.
This final review sounds a bit like \"artspeak, but Alatorre provides a passionate case for how costume design transforms the brain and intellectual aspects of art history and analysis into living and important things.
When asked if participating in theatrical costume design was more valuable than a solo or display artist, both designers nodded and agreed.
Given that the Bard Hall in the Beach office is lined up with gorgeous costumes from past works, the point of artistic start and end becomes blurred.
\"Costume designers also often work in movies and TV, but you can stay incredibly busy in the theater,\" says Alatorre . \".
\"A lot of things can go wrong, but you have to take the risk.
After doing it for ten years, I accepted the process and accepted that there would be something on stage that didn\'t look beautiful, which didn\'t work or flow the way you planned.
This is when sewing scissors, needles and threads come out and make more adjustments.
For all intents and purposes, the actors can rehearse in potato sacks until the end of the rehearsal.
There is a huge room filled with stock of works and times from past Bard Beach and Vancouver playroom, where it is old and for this year\'s show, wearing a dress that feels right may be pulled to rehearsal.
The final dress rehearsal is to make the costumes and you will feel like they are being transferred to the tent of armored transport Vanier Park.
Do you have to love poets in order to do this?
\"I think it\'s easy to like it,\" Lemmer said . \".
For Alatorre, this feeling takes longer to develop.
\"I\'m from Mexico, where there\'s a lot of Shakespeare translated into Spanish, and I didn\'t feel like I really fell in love with it until last year when I worked at Pericles,\" Alatorre said . \". “My directors —
Last year with Louis Anderson and this year with Dean Paul Gibson
Their research and design philosophy really made me fall in love with it.
It is a privilege to study Shakespeare.
\"This is the privilege that the audience will have had before the end of September.
In addition to many arguments about \"nothing\" and \"the story of Winter\", Bud on the beach also showed the Venetian businessman, Two Gentlemen of Verona and local playwright Mark on the Howard family stageYoung Sherlock
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