Live Design: “I have been living and working in New York for over 20 years in a wide variety of artistic disciplines but I have never before had the chance to work on a Broadway musical, the art form that really defines this city in many ways, so I was thrilled to have a chance to finally be part of this special world,” says Ishioka, who has been a part of many special worlds. A Tony nominee for the sets and costumes of M. Butterfly, the designer won an Oscar for costumes for Bram Stoker’s Dracula and a Grammy for the artwork of Miles Davis’ album Tutu, and says she came into the project with “high expectations for Julie Taymor’s ability to create a high-value theatrical experience.”
Friday, October 21, 2011
Eiko Ishioka’s Costume Design For Spider-Man
Live Design: “I have been living and working in New York for over 20 years in a wide variety of artistic disciplines but I have never before had the chance to work on a Broadway musical, the art form that really defines this city in many ways, so I was thrilled to have a chance to finally be part of this special world,” says Ishioka, who has been a part of many special worlds. A Tony nominee for the sets and costumes of M. Butterfly, the designer won an Oscar for costumes for Bram Stoker’s Dracula and a Grammy for the artwork of Miles Davis’ album Tutu, and says she came into the project with “high expectations for Julie Taymor’s ability to create a high-value theatrical experience.”
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2 comments:
I think that designer Eiko Ishioka nails adaptation on the head when she says that she was inspired by the original comic book characters, but then moved beyond them to create her own interpretation. My understanding is that, when adapting a story to another medium or simply to another story, the important thing is to understand the essence of the story, not the exact plot points. I always hope that an adaptation or a remake is a reimagining or reinterpretation of the classic. I don't want to see the same story on stage. It is a different time and a different place, so the team has to be conscious of what they are saying to the audience. I also appreciate the designer's statement about how closely she worked with the scenic designer to establish the world for the audience. There is little more beautiful in theater when every element contributes to a whole aesthetic just as much as it needs to without over doing it.
Having just finished my first costume mini I was able to explore this article in a new light. In agree-ance with Chris, I think its mind blowing the collaboration of all of the elements, such as scenic and costume, work together to make a story function that much more beautifully. It is interesting how the designer approaches the stereotypical spiderman costume and wants to adapt it to fit the specific story the play is telling. The tiny aspects of costuming work together to make such a dynamic impact on the aesthetic experience of watching the play.
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