TITLE PAGE

COSTUME AND MAKE-UP AS EFFECTIVE TOOLS FOR ROLE INTERPRETATION

BY

VANESSA CHINAZAEKPERE OKORIE

NAU/2015/104004

A MINI PROJECT SUBMITTED TO THE DEPARTMENT OF THEATRE AND FILM

STUDIES.NNAMDI AZIKIWE UNIVERSITY

AWKA.

IN PARTIAL FULFILMENT OF THE COURSE

RSEARCH METHODS AND STYLE MANUAL IN THEATRE STUDIES: TFS 366

JULY, 2018.

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 DEDICATION

This work is dedicated to my beloved parents Mr. / Mrs. Remmy Okorie

Nwayobuije for their all round support and encouragement, long life and prosperity to you
both. Thank you for everything.

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 ABSTRACT

This research is embarked upon to investigate on the major factor responsible for
costume and make-up being effective tools for role interpretation and characterization in
Nigeria.

The rate at which costume and make-up are misinterpreted in some theatre
performances is a thing of concern to theatre practitioners. Therefore, this research is
carried out to find out what seems to be the problem and how to go about solving these
problems. Costume and make-up should be carried out very well or rather applied and
worn on the body well to suit a specific characterization to the utmost point of realization,
bringing to live realism as it is an effective tool/tools for role interpretation. The ultimate
aim of this research is to enlighten minds on how costume and make-up orts to be in
theatre productions, both on stage and film.

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 TABLE OF CONTENTS

Title page - - - i

Dedication - - - ii

Abstract - - - iii

Table of contents - - - iv

CHAPTER ONE

Introduction - - - 1

1.1 Background of study - - - 1

1.2 Statement of the problem - - - 2

1.3 Aim and Objectives of the study - - - 3

1.4 Scope of the study - - - 3

1.5 Significance of the study - - - 3

1.6 Research methodology - - - 3

CHAPTER TWO

Literature review - - - 4

CHAPTER THREE

3.1 The biography of the Director of the movie - - - 0

BURSTING OUT by Desmond Elliot

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3.2 Synopsis of the movie - - - 0

 BURSTING OUT by Desmond Elliot

3.3 Analysis of the case study - - - 0

3.4 Summary and Conclusion - - - 23

3.5 Recommendations - - - 24

Works cited - - - 25

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 CHAPTER ONE

INTRODUCTION

1.1 BACKGROUND OF THE STUDY

An actor becomes a character only if he takes up a role and costume and make-up
which is characterization aid in that prospect. Costumes are clothing while make-up
are substances, they are both used to enhance the features of a character. Costumes
are worn by the character to enact and project a characters role while make-up are
applied on the body of the character in terms of designs, drawings e.t.c.

The Duke of Saxe-Menengen in the 19th century gave costumes to actors and these
costumes matches the actors character. He did this to stipulate social status in actors.
Actors wear only one costume throughout a particular play in the greek classical period.
Depending on their genre of drama in that era. The tragic character has a specific costume.
The actors didn’t wear make-up because they were masked according to their mood and
genre. This means that costume and make-up also give man a pronounced identity in every
area of his activities, and what distinguishes them or create diversity among these people
are their costume and make-up.

Make-up in film and stage are different as the stage is more projected and strong or
firm while that of film is correctable and transient, so their application or construction
modes are not the same. That of the stage should be firmer and pronounced. It is also good
and right to say that costume and make-up are used to promote and sustain the culture of
the people. Man has utilized costume and make-up for his benefit, this can be traced to the
period of the early men when they used it as a camouflage in order to hunt animals for
survivals.

Tracie Chima Utoh Ezeajugh says that: “the art of costume and make-up are
primordial engagement which has over the years, aided man to physically transform
himself into any character his situation demands he becomes. These are which at
first were purely utilitarian. Since man needed to disguise in order to kill the
animals he acquired for his meals, have since grown and evolved into social and
artistic endeavour”(page 8)

Without doubts, it is an indispensable tool that have contributed earnestly to the

efficiency of every theatrical and film production. Costume and make-up among the

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ancient Egyptians were specialized arts used to portray various moods and to preserve
dead bodies. Evidence of this vibrant costume and make-up culture was found in cave
paintings and on mummified bodies amongst others.

Verifiably, in different part of Africa, different design practices are associated with
the people of different localities, and these practices are the distinguishing hallmark of each
tribe or ethnic group. Different types and style of costumes, as well as body designs made
with coloured dyes and/or sharp instruments, are the essence of African culture. For the
traditional theatre, costume and make-up define those dress elements, body designs and
cosmetics used to transform a dancer, singer, drummer, masquerade, and other
performers involved in dramatic interpretations into the characters they are to embody in
performance. In recent years also, uli designs have become important modes of
characterization in Nigerian video films.

In line with this argument, Umukoro maintains that:

Through his/her ingenious use of dress and accessories, the costume designer
in the theatre interprets character, mood as well as the background of a play.
With an eclectic disposition, he/she is inspired to create images that
powerfully convey visual statement that may indeed be more instantaneous
that those verbalized (page 53)

According to landis:

Costumes are created to be worn by one specific actor, as one specific

character, in one specific scene (page 6)

1.2 STATEMENT OF THE PROBLEM

The rate at which costume and make-up are misinterpreted in some theatre
performances is a thing of concern to theatre practitioners. The misappropriation of
costume and make-up in production can be seen as a result of poor script analysis by
costumers and make-up artists. It has been observed recently that the beauty of a
production is first seen in the costume and make-up before other elements that contributes
to the entire aesthetic of the production. Most times, the actor’s costume and make-up may
contradict the dramatic action due to poor application of costume and make-up. It is
expected that the artist of the theatre should pay more attention to this aspect because it is
a core or primary aspect which boost the aesthetics of the production and enhances soft
role interpretation by the actors. This has been a major challenge in Nigeria film industry.
Over the years most costume designers in the industry are callow, the know little or

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 nothing about what costume analysis is all about therefore they end up having a poor
input of costume and make-up as well as the colour misappropriation and
misinterpretation in the design. Some costume and make-up don’t blend with some
dramatic actions.

1.3 AIM AND OBJECTIVES OF THE STUDY

The aim of this study is to bring to the minds of people the importance of costume and
make-up, and how or the right possible way to apply make-up and wear costume in other
to effectively use them to interpret a role in the theatre.

1.4 SCOPE OF THE STUDY

The scope of this research work is covering issues majoring on costume and make-up
in interpreting roles in theatre and arts of the theatre.

This research work or study aims to enlighten people or rather enlighten minds of
whoever it may concern about the importance of costume and make-up because it is an
effective tool for role interpretation. This study places focus and limelight on how costume
and make-up is been used as an effective tool for role interpretation and characterization
by costumers and make-up artists.

1.5 SIGNIFICANCE OF THE STUDY

The essence of the research work is to give knowledge to those who know nothing about
costume and make-up design and how it is done.

To bring to the limelight as well as give an added knowledge about costume and make-
up as effective tools for role interpretation and characterization. Also to help lead people
who are interested in costume and make-up through the right part so that they can know
the dos and don’ts of costume and make-up in the theatre.

1.6 RESEARCH METHODOLOGY

The methods used in making this work a success is the qualitative method which
involves the use of Journals, Articles, Text books and all other written materials that were

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helpful to gain this research a success and give it meaning.

CHAPTER TWO

LITERATURE REVIEW

In this chapter, we shall review the opinion of some scholars concerning costume
and make-up especially when relating it as effective tools for role interpretation.

Costume and make-up can be defined as:

COSTUME: It can be described to be every clothing materials used to cover our nakedness
(The body) in any theatre production. So in theatrical and filmic point of view, it goes way
beyond this definition cause costume does not only review the character’s social status and
economic background but it also exert a magical influence on the character in other to
enhance the actor’s acting capability on stage or film. Costume aids characterization. It
shows or x-rays the age of the actors, nationality, personality, strength and weakness of the
actor before he/she says or utters a word. Because actors and actresses are seen before
they are heard, we can agree that costumes are very important and projects all the
aforementioned.

There are basically two types of costume and they are; Character costume and
Decorative costume.

MAKE-UP: It compliments a costume. Costume and make-up are interwoven, they work
hand in hand to bring out a good picture/portrayal of the actors on stage or film. Make-up
cannot or shouldn’t be limited to just cosmetics such as lipstick or powder applied to faces,
it can also be seen as those substance applied and used in creating body design for symbolic
emphasis and beautification as well as using disguises such as fake moustaches, beards and
wigs.

According to Oscar Brockett “make-up helps establish the age, state of health and
race of an actor” (page 388)

Make-up can transform a 20-year old into a 60-year old. Make-up tends to be the
closest to the actor than the costume because it is applied directly to the skin of the actor
especially closed areas of the body that the costume does not cover.

Oscar Gross Brockett says “make-up is normally used to cover all pans of the actors

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 body not concealed by his costume” (page 615)

Theatrical make-up is thicker and heavier on the actor to give a more elaborate and
believable appearance mostly on stage. It has to be appealing within the short period it
would be on stage.

Tracie Chima Utoh-Ezeajugh says:

The story of any play could easily be told through the costume and make-up
design because one of the aims of costume is to characterize the wearer such
that the audience could easily understand the kind of person that the action
of the play is going to unfold. Make-up design on the other hand
“consolidates costume by giving a physiognomic classification to a character
and as such, could be considered an extension of costume” (page 42)

Stage make-up has been described by Human Buchman (14) as a craft which aids in
the illumination of character for the actor as well as the audience. In Milton smith’s
submission, “make-up is one of the visual aids to an interpretative understanding of a
performance” (page 365).