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adding some hair inspiration, as well as inspiration for installation piece #1. The yellow wig is for IP#1 and the red one will be for Millicent.
costume inspirational images.
Image #1 is for the prologues. I based them off of the Greek chorus.
Images #2-4 are for the main characters who talk at the tables. I want them to look youngish but put together.
Image #5-6 are for the Urinal character. He is based off of The Fountain, but with a modern twist.
The other art installation pieces will also be wearing MorphSuits.
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Conceptual Statement
The costumes are based off of the unifying idea that love evolves throughout life. Each costume represents a different stage of life and love combined. Each version of love is isolated from the other--similar to the light design.
The Prologues wear matching togas in rich jewel tones--young love is bright and passionate.
Harriet, George, and Millicent wear business suits in bright colors/patterns--a modern love story; still passionate but ever changing.
The Installation Pieces and the Urinal are in MorphSuits and added props--simple but powerful. They are stripped down to their innermost selves, as many people are near the end of their lives and at the height of true love.
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My concept for lighting revolves around isolation and loneliness. The play deals a lot with the interactions of people in large numbers and focuses on the feeling of being out of context and uncomfortable.
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TOM
To me
if I wanted to have a happy life
I would just want to have a life with you.
EDNA
What do you mean?
IF you wanted a happy life.
You mean you don’t want a happy life?
TOM
I do want a happy life.
Yes, I do.
Would you live your life with me?
EDNA
Yes.
I would love to.
I love you.
TOM
I love you.
EDNA
Do you think we can be together our entire lives?
Or things will change?
You will change?
Your feelings will change?
TOM
The way I feel
feels more certain that any other way I’ve ever felt
about anyone or anything
it feels forever.
I’ve never been more sure of anything.
I feel it so solidly within my whole self.
I love you.
Life, Charles Mee
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Life
People come through from one side to the other, in and out: The five year old girl,
eating an ice cream cone, smiling, sitting in a red wagon pulled by her father. A golf cart, driven like crazy by a caddy, while, in the back, a couple embraces passionately. A couple being pulled along on a picnic blanket with food and a champagne bottle in a bucket, and she is drinking and drinking and drinking the champagne. Like that.
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My own work begins with the belief that human beings are, as Aristotle said, social creatures—that we are the product not just of psychology, but also of history and of culture, that we often express our histories and cultures in ways even we are not conscious of, that the culture speaks through us, grabs us and throws us to the ground, cries out, silences us
http://www.charlesmee.org/charles-mee.shtml
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Photo
Charles (Chuck) Mee writes plays that, instead of following one developing story, are an accumulation of “images and music and other events” in contrasting, vivid scenes that make up a theatrical collage. Mee wants to “to invite people to let their minds roam over the material–not only the material that’s onstage, but the material that these other things will make them think about. … People have to find their own way through and arrive at their own conclusions. This is a democratic process, a participatory process.”
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Photo
costume inspirational images.
Image #1 is for the prologues. I based them off of the Greek chorus.
Images #2-4 are for the main characters who talk at the tables. I want them to look youngish but put together.
Image #5-6 are for the Urinal character. He is based off of The Fountain, but with a modern twist.
The other art installation pieces will also be wearing MorphSuits.
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