We have considered many elements of costume and it seems we have finally decided on 1920’s inspired cocktail dresses with fringing or sequins, with hold-up stockings, pearls and balaclavas. The balaclavas should hopefully portray the ‘terrorist’ aspect of our performance, whilst the dresses will give a nod to the building of the Usher Gallery, as it was officially opened on the 25th of May 1927. Before coming to this decision, we had also discussed full length ball gowns, also with balaclavas as a really shocking statement, but we found the 1920’s dresses fit in better with the history of the site, as well as being easier to move around in. There was also the consideration of simple, modern clothing, in keeping with the balaclavas and the idea of moving around the building anonymously. However, we have come to realise that we don’t want to be anonymous, in fact it is necessary that we should be looked at, and what we are creating should be acknowledged.
We have again taken inspiration from Lone Twin in this aspect, as in one of their pieces Totem (1998), they ‘negotiated the streets of Colchester while dressed as cowboys’ (Govan, Nicholson and Normington 2007, p.125). Whilst this costume does not signal a link to the history of the site, unlike ours hopefully will, it does give the audience a chance to identify the company as ‘others’, a reason to watch and in the case of Lone Twin, to interact. However, Govan does comment on the necessity for costume in the duo’s works as it ‘gestures towards the concerns of exploration and environment’, and the environment of the Usher Gallery is a key element we are portraying here with the 1920’s style costume (Govan 2007, p.125).
The social hierarchy is also something we want to touch on with our costumes. The massive gap between what we are doing and what we are wearing should be clear to the audience, especially once we stop and remove our balaclavas, and begin to act in a way which can be seen to be more feminine and correct within the context of the costume, and of the time. We hope that our costume can clearly signal everything we want it to, and is realised as a major part of the whole piece.
References: Govan, Emma, Helen Nicholson and Katie Normington (2007) Making a Performance: Devising Histories and Contemporary Practices, Oxon: Routledge.
Author: Lacey Cole