The Art and Craft of the Costume Designer for Opera and Ballet

Transcript

The Art and Craft of the Costume Designer for Opera and Ballet
MASTER’S ACCADEMICO
DIPLOMA
1ST LEVEL - THEDI
ART
I LIVELLO
AND CRAFT
- COSTUME
OF THE& COSTUME
MODA
DESIGNER FOR OPERA AND BALLET
Ph: Francesca Nelum Caramini for Accademia Costume e Moda.
M
M
1st Level Master’s (MA1)
The Art and Craft of the Costume
Designer for Opera and Ballet
(60 ECTS)
Course Leader, Andrea Viotti
http://it.wikipedia.org/wiki/Andrea_Viotti
http://www.imdb.com/name/nm0899259
In partnership with:
Carlo POMPEI
Ditta Rancati
MASTER’S 1ST LEVEL - THE ART AND CRAFT OF THE COSTUME DESIGNER FOR OPERA AND BALLET
M
Opera was born in Italy. Gioacchino Rossini, Vincenzo Bellini,
Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini all
played the part of dictating the rules and in the development
of the opera, from the playful and romantic to melodramatic
or realistic.
Fundamental in the opera house the role of the costume
designer is: an artist who knows costume history, tradition,
it’s roots anthropological, psychological interpretations,
emotional suggestions, that through its creations is a
measure of the time in which the story takes place, the
psychology of the characters, faithfully reflecting what is
expressed in music.
In ballet the costumier takes into consideration that his
creations are warn on energetically moving bodies and are
created to enhancing the physical and plasticity of the body
in movement.
It could not have been anywhere else, other than Italy, that a
Master’s who dedicates their career to these two extraordinary
forms of entertainment was to be developed in the country
of Leonardo, Michelangelo, Caravaggio etc.
The Accademia di Costume e di Moda has both a long
tradition and experience in training and education within
the Costume and Fashion fields, qualifying itself as a centre
of excellence in learning thanks to its educational offer and
approach to teaching and learning. Its alumni are successful
and accomplished designers and fashion professionals
working within a huge variety of areas within the Fashion
System or working as Costume Designers for important
productions both at national and international levels.
4
introduzione e obiettivi del corso
Accademia Students at work for the Costume Final Work 2015
Accademia Students at work for the Costume Final Work 2014
6
introduction and course objectives
This Master’s course is intended to deepen the cultural and professional training as a costumier from design
to implementation. It ‘a path of intensive theoretical and practical studies, scientific research and laboratory
workshop practice, offers the important design and technical tools to design, draping, application of tailoring
techniques and elements of costume accessories, from wigs, makeup, jewellery, shoe, the headgear through the
study of Art and principal styles as a source of inspiration and workshop techniques designed to capture not only
creative abilities but also as project work and organization skills.
Young Costume Designers at the end of the Costume Final Work 2015.
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teaching and learning methods
The Master’s course provides projects that simulate the learning path from iconographic research to the elaboration
of design up to the execution of the actual costume. Providing that all the elements are in place, the analysis of
fashion through the ages and the adaptation of these styles to the requirements of the performance.
The course deals with, in addition to all the artistic & creative issues, technical work, production related issues
involved in the realization of a performance through the analysis of the opera libretto, understanding the music
needs, the kind of choreographic, as well as technical and administrative aspects.
This course includes a series of seminars / testimonials by renowned costume designers, set designers, dancers,
actors, directors as well as in-depth guided tours at costumier tailors, theatres, museums and art galleries.
The goal is to create professionals who have the skills to meet the demands of ballet and opera productions but
most come in contact with the reality of specialized costumiers. The course is in English, but students can also
study and improve the professional knowledge of the Italian language.
Kimonos made by Accademia students for “Madama Butterfly” Opera.
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project work
The Project Work is based on the design of an opera and a ballet by simulating the “commission” of a theatre
that will dictate all the requirements of artistic production. The work that the student presents is at the same level of
a “senior costume designer” may present for an opera production: listing requirements; suppliers lists; (tailoring,
footwear, jewellery, accessories, armour, wigs etc.); specific budget; costume sketches with samples; sketches of
wigs, makeup and accessories.
Students and Teachers at work for Final Work 2012.
9
duration and attendance
The course duration is one academic years and attendance is mandatory however to be accepted at the final
assessments students must have at least 80% proven attendance.
The educational path is organized and split into a variety of main subject areas and assessment will be held
in three main sessions.
Costumes made by Accademia students for “La Bisbetica Domata” Comedy.
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professional profile and career prospect
This Master’s Course trains professionals as assistant costume designers, consultant costume designers,
professional costumiers able to work at both national and international levels in Opera and Ballet since
graduates are able to analyse and creatively interpret the theme proposed by a text of ‘Opera or Ballet;
perform in-depth historical research; realize the sketches of costumes of various characters required by the
text, accompanied by the relevant sampling of fabrics required; direct and follow the manufacturing during
the realization of the costumes; design accessories, makeup and wigs needed for a production.
Final Work 2012.
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main subject areas
Theoretical and technical areas:
• Image, shape and colour
• Clothing evolution in the centuries
• History and aesthetics of lyrical and ballet costume
• Music and Theatre
Technical and scientific areas:
• Script scrutiny and needs
• Tailoring budget
• Research and Documentation
• Illustration and design
• Character sociology and psychology
• The Jewel: design and applications
• The Shoe
• Materials
• Make up and hair style
Technical and operational areas:
• Laboratories: elaboration, research, invention and technical problem solving
• Cutting evolution in the centuries
• Relations with production aspects of the play
Project Work:
• Design and final book simulating the commission by an Opera production
• Design and final book simulating the commission by a Ballet production
Stage:
• Educational internship in specialized tailoring costume shops
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placement opportunities
At the end of this Master’s course, recognized by Italian Ministry, the Placement Office of the “Accademia di
Costume e di Moda”, in collaboration with some of the main names within the Costume industries, seeks to
give the opportunity to students who fully commit to the course to interview for a work placement experience.
The Ministry requires 100 hours (minimum) of placement studies in order to successfully complete this course
and gain the Master’s award. In this way the Accademia offers its students the chance of a concrete
professional experience.
Many of the leading professional figures within the Fashion Industry or Entertainment Industry are often
alumni of the Accademia, who contact the Accademia to look for new young and creative talents.
Costume: Bibi Film - Costumi d’Arte Peruzzi - Endemol - fandango - Fondazione Teatro Regio di Parma - Lux
Vide - Nova Film - Mediaset - Opera Barga - Publispei - Sartoria Annamode - Sartoria Farani - Sartoria Lo
Faro - Sartoria Tirelli - Tao2 - Teatro dell’Opera - Teatro La Scala - Teatro San Carlo - 7 Hills Production.
Fashion: Arlette - Armani - Balestra - Balmain - Rocco Barocco - Benetton - Bikini Contest - Blue Sand - Laura
Biagiotti - Chiara Boni - Blumarine - Bottega Veneta - Brioni - Calvin Klein - Giovanna Cavagna - Marco
Coretti - Dim Playtex - Dior - Dk Trading - Dolce e Gabbana - E Fashion Group - Fendi - Alberta Ferretti Ferragamo - Gianfranco Ferrè - Gruppo Ferrone - Gai Mattioli - John Galliano - Gant - Gattinoni - Grimaldi
Giardina - Gucci - Gunex - Harford & Lefebvre - Hermès - Jean Paul Knott - Italian Lab - Ittierre - Lamborghini
- L’Altra Moda - La Perla - Le Copains - Lolita Lempicka - Giammarco Lorenzi - Ltb Little Big Moda - David
Mayer - Antonio Marras - Max Mara - Mila Schon - Miss Money Money - Moonlight - Morfosis - Oxer Padovan Parah - Pianura Studio - Prada - Ralph Lauren NY - Rinascente - Fausto Sarli - Ermanno Scervino
- Sisley - Softcore di Sergio Zambon - Swish - Trussardi - Undercolors of Benetton - Angelo Vitti - Valentino
- VBH - Vivienne Westwood - Zegna Baruffa - ZMD spa - 100x100 Capri.
13
who is this course for?
This Master’s is aimed at those who have successfully completed a recognised first degree, in a subject area
relevant to this course, and wish to study with the aim to seriously focus on a career towards costume design.
• Students who have successfully completed an undergraduate degree in Artistic / Design or a subject area
linked to the Master’s Course: YES;
• Humanistic and Liberal Art degree students who have successfully completed an undergraduate course not
linked to the specialist area of the Master’s: YES, if accepted by the Course Committee;
• Industry Professionals of the sector and students who have not completed a recognised undergraduate
degree but private courses within the subject area of the course: YES, if accepted by the Course Committee
and will only be eligible to receive a certificate of participation.
Due to demand and a closed number of places available (to maintain the quality at this high level of study),
the successful completion of an admission assessment, based on an interview and presentation of a Fashion
Portfolio, are required in order to gain access to the course.
Admission tests on the Academic Year 2014 - 2015:
Sessions in Rome:
• 20 April 2015
• 25 May 2015
• 15 June 2015
• 6 July 2015
• 20 July 2015
• 7 September 2015
International applicants need to send the portfolio via email to [email protected] in
order to access interviews via Skype. To reserve the interview please refer to the following dates:
• 21 April 2015
• 26 May 2015
• 16 June 2015
• 7 July 2015
• 21 July 2015
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fees 2015/2016
The total fee for the “The Art and Craft of the Costume Designer for Opera and Ballet” Master’s Degree is
Euro 11.000,00.
Enrollment fee:
Euro 1.500,00
Tuition fee:
Euro 9.500,00
To be admitted to the Course, the payment of the Regional Tax ADISU is mandatory (the amount of this tax
is annually defined by the Regione Lazio) these costs can be subject to changes.
Accademia Factory 2014.
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per informazioni
Inf.Or.Ma.
Accademia Costume & Moda
Via della Rondinella 2
00186 Roma
T +39 06 6864132/06 6868169
F +39 06 6874867
[email protected]
www.accademiacostumeemoda.it
Rome skyline from the Accademia Costume & Moda.
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partners
Costumi d’Arte Peruzzi
L.C.P. di Pompei, often known as Ditta Pompei simply as
Pompei, is an Italian manufacturer of shoes, and other
costume items, for film productions. Founded in 1932,
it has primarily served Cinecittà film productions. In the
1960s, it manufactured classical foot gear for the numerous
sword and sandal epics being made at Cinecittà. Since the
1970s, it has also been employed on large international
film projects. Based in Rome, Pompei also has branches in
Paris and London. In thirty years of activity it has created
40.000 pair of shoes that now constitute the heritage and
archive of the company. This satisfies the requests of all the
theatres of the world. The attention to detail, the artisinal
work, the materials attentively selected, allow Pompei’s
products to be unique and exclusive.
The Costumi d’Arte was born in 1815 with a different
name, (Casa d’Arte) from an initiative of Angelo Pignotti,
who in Florence started a small business of antiques.
Following the requests of many painters, Pignotti decided
to not limit his business only to lending his works but to
organise a proper activity. At the time there were many
parties in costume, and these allowed the business to grow,
not only in lending but also in tailoring new costumes.
The business grew and Pignotti started collaborating with
acting companies in Tuscany finally landing on the most
important entertainment sector of the time, the Opera. We
are talking about the 1920’s and a very important costume
archive is already completing a precious heritage. When
the new cinema plants in Tirrenia were born, the Art Hours
(Casa d’Arte) started working also for new film productions.
In 1947 Giuseppe Peruzzi decided to open an office in
Rome, starting a long collaboration with Luchino Visconti.
From 1995 Giusepper Peruzzi continuws the activities of
his predessors, working for the theatre and cinema, strong
of an important family tradition and experience who has
lasted for more than 100 years.
http://en.wikipedia.org/wiki/L.C.P._di_Pompei
www.costumidarte.com
Carlo Pompei calzature
17
partners
Ditta Rancati
Laboratorio Pieroni
The origin of our firm dates back to the second half of
nineteenth century. In Milan Pietro Zaffaroni and his wife
Giulia Sormani own a workshop which furnishes the Scala
Theatre and other theatres all over Italy.
In 1864 Giulia Sormani inherits her husband’s business.
Afterwards she gets married to the sculptor Edoardo Rancati,
teacher in Fine Arts Brera Accademy in Milan.
Then Giulia’s brothers, Angelo and Giuseppe begin to work
in the firm too. So E. Rancati & C. is established.
In 1875 Angelo Sormani opens the branch in Rome. In
1892 E. Rancati & C. is awarded at the Chicago World
Exhibition. The firm grows and begins to have international
success. In 1912 Romolo Sormani, son of Angelo, gets
acquainted and collaborates with the greatest theatre and
arts Master’ss: Puccini, Mascagni, Toscanini, Savinio, De
Chirico, Prampolini, Sironi and his brotherly friend Nicola
Benois. During the thirties and the fourties the E. Rancati & C.
begin a long collaboration for the cinema; Romolo supplies
furnitures for the most important movies productions. After the
war Romolo Sormani’s sons Angelo, Anna and Giuseppe,
greatly develope the business, having the name “Rancati”
known trough the most important theatre and cinematographic
productions.
Now Cristina and Romolo Sormani (the fourth generation) are
the owners of E.Rancati s.r.l. based in Milan and Rome.
Hats, armour and breastplates for cinema and theatre
Pieroni is the biggest Italian handcraft company, world
renowned in the production and renting of hats, armour
and breastplates for cinema and theatre.
The business started during the 1940’s and fastly grew
thanks to collaborations with the historical Roman
theatre and film costume makers and close affiliations
with respected costume designers. The precious and
well-respected work of the Pieroni company has hugely
contributed to the growth of Cinecittà. With their first big
international productions, Pieroni became internationally
recognized and has since received many awards for their
achievements, including Oscars. The relationship between
Hollywood and Pieroni has become, in the course of the
years, consistently more solid and productive, such that
in almost every single film with historical costumes, Italian
or international, you’ll find a hat or a piece of armour
made by Pieroni. Nowadays, Pieroni is the landmark
for the motion-picture handmade quality products. The
products are always made by hand, after deep historical
research and faithful reconstruction. Therein is the secret
of not having any rivals in the business in terms of quality,
customization, personalization and sustainability.
Only the hands, patience and attention or top-notch
expert designers can guarantee an excellent result.
The raw materials used are mostly made in Italy and
always selected of first choice and top quality.
Pieroni hats or armour play a vital role in adding to the
authenticity of any film.
www.erancati.com
www.laboratoriopieroni.it
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partners
Sartoria Annamode
Rocchetti e Rocchetti
In 1874, Giuseppe Rocchetti establishes Parrucche Rocchetti in
Largo del Pozzo delle Cornacchie, in Rome. Work is mostly for theatre.
In the early 1900s, his son Manlio, after perfecting his wigmaking craftsmanship in Paris, becomes the head designer and
make-up artist for Rome’s Regio Teatro dell’Opera, moving the studio
to Via Monte della Farina, where he will work for the rest of his life.
During WWII, Mrs. Vittoria (Manlio’s widow) takes on
the helm of the company, aided by her workers, that are
soon to become among the most successful and well-known
wig-makers and hair stylists in the history of Italian cinema.
In 1948, management of the studio is taken up by Silvano Rocchetti,
Manlio’s third son; who with thanks to the untiring assistance of
wife Fernanda, sister-in-law Luigina Centi, and sister Fiamma, give
new impetus to the company. At this time, Goffredo, (make-up) and
Mara, (hair) work continuously on films that attain world success.
In 1970, an encounter with Rino Carboni gives birth to
Rocchetti & Carboni, including an acquisition of the Maggi
and Palombi wig-labs, making the company one of the
industry’s most important contributors on an international level.
In 1996, following Mr. Carboni’s death, the wig-lab
returns to being managed solely by the Rocchetti family.
In2002,alargerheadquartersisestablishedinViaGregorioVIIRome.
It now features one of the largest collections of wigs in the entire world.
Today with the help of brother Luigi, Manlio Rocchetti is at the
helm of Rocchetti Parrucche, bringing with him over 40 years of
experience on productions around the world.
Rocchetti Parrucche has always enjoyed a close collaboration with
great directors, hair stylists, costume designers and artists for over
130 years receiving a great number of awards and nominations,
including an Academy Award (Oscar), an Emmy, Una Vita per
il Cinema, La Chioma di Berenice, Nastro d’Argento and BAFTA.
Manlio Rocchetti, Academy Award Winner is an alumni of
the Accademia.
www.rocchetti-rocchetti.com
The atelier of the Allegri sisters was born in 1946 in an Italy emerging
from the social, economic and human catastrophe of the second world
war , thanks to the initiative of Anna Allegri, a twenty-five year old
lady of the Florentine upper-class whose creations conquered first of
all the Roman aristocracy followed by costume designers involved
in the Neorealism of Italian cinema. With the arrival of younger
sister Teresa in the early 1950’s Annamode became a centre of
style and ideas combining two activities, one satisfying the everincreasing demands for elegance from upper-class ladies caught
up in the Italian economic boom, the other ready to respond to the
ever more frequent demands for costumes on the part of Cinecittà.
Evening dresses and costumes for the cinema were created in two separate
but connecting workshops which inevitably passed ideas and solutions
from one to the other. Among those frequenting the atelier were the
greatest followers of the Sensani costume heritage, from Maria De Matteis
to Piero Tosi who commissioned the costumes from Annamode for many
of his films, including those worn by Maria Schell in “Le Notti Bianche”
(1957) directed by Luchino Visconti, another habitué of the atelier.
The first fashion show was organized at the beginning of the 60’s
without professional mannequins. Models were shown by clients
of the atelier, some of whom were actresses who had already been
dressed for films or who were from the world of cinema, such as
Giovanna Valeri, daughter of the poet Diego Valeri and wife as
well as collaborator of Giuseppe De Santis, Anna Sallusti, wife
of Massimo Sallusti, Goga Girotti, wife of Massimo Girotti, Flora
Carabella, wife of Marcello Mastroianni, Lyla Rocco and many other
actresses. In both the fashion and costume workshops the Allegri sisters
experimented continually in the use of new materials. Even plastic
was used in creating the capes worn by mannequins in the défilé
beside the swimming pool in the Fellinian episode Toby Dammit of
the collective film “Tre Passi nel Delirio” (1967), with designs by Tosi.
The history of Annamode has followed the evolution of Italian cinema
and society, sometimes anticipating tendencies and tastes, interpreting
demands and humours, while great actresses took turns in using the fitting
rooms, from Sophia Loren to Gina Lollobrigida, from Ingrid Bergman to
Claudia Cardinale, from Charlotte Rampling to Liza Minnelli, a never-.
ending list leading to stars of our time such as Maria Grazia Cucinotta
and Scarlett Johansson, while one generation followed another both
inside and outside the atelier. Annamode continues to be inspired
by the lessons learned from the late lamented Anna and from the still
spritely Teresa, lessons based on loving and careful attention to every
detail and on the capacity to meet the demands of costume designers
at a moment in time when resources available to period costume
productions have profoundly changed.
www.annamodecostumes.com
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partners
Sartoria Tirelli
Sartoria Farani
In early 50’s a young Piero Farani arrives in Rome full of
enthusiasm and willing to work in the film industry after
some lucky radio experiences for RAI in Turin. The years
are charachteruzed by the economic boom and Italian
Cinema is living a period never replicated afterwards up
to nowadays. Many of the young cinema makers and
workers of the time will become Paolo Poli, Giancarlo
Cobelli, Franco Zeffirelli, Gianmaria Volontè and many
many others. Piero from being a simple assistant at the
Annamode Costume Shop, becomes Head of the tailoring
department and after some years decide to open his own
business. Supported by the many contracts of costume
designer Danilo Donati and followed by the great pattern
cutter Benito, in 1962 opens his own Shop. The years to
come are characterized by the colloaborations of Danilo
Donati for Pasolini, Federico Fellini (Academy Award
winner Casanova 1976), Zeffirelli (Academy Award
winner for Romeo and Juliet 1968).
www.farani.it
The costumier Tirelli was established in 1964 and is responsible
for the creation of costumes for films and well-known productions,
including almost all of Luchino Visconti’s films (designed by Piero
Tosi). It collaborated on the creation of costumes for Federico
Fellini’s Casanova, with costume designer Danilo Donati winning
an Academy Award for Best Costume Design in 1973/74;
Chariots of Fire, with costume designer Milena Canonero
winning an Academy Award in 1982; Milos Forman’s Amadeus,
for which designer Teodor Pistek won an Academy Award in
1985; Cyrano de Bergerac, for which costume designer Franca
Squarciapino won an Academy Award in 1991; the Age of
Innocence, with costume designer Gabriella Pescucci winning
an Academy Award in 1994 and Marie Antoinette, for which
costume designer Milena Canonero won an Academy Award in
2007. In addition to the Academy Awards, it has also received
numerous Oscar nominations and a great many other awards
(both in Italy and abroad) have been won by costume designers
for whom Tirelli provided a creative contribution. Following the
death of its founder, Umberto Tirelli, its prestigious work has been
carried on by friends and heirs with Dino Trappetti at the helm.
Tirelli Costumi has created costumes for The English Patient,
with costume designer Ann Roth winning an Academy Award in
1997; The Legend of 1900, for which costume designer Maurizio
Millenotti won a “David di Donatello” as he did for The Passion
of Christ and N.: Napoleon & Me. Costume design awards have
also gone to Ann Roth for Cold Mountain, Gabriella Pescucci
for The Brothers Grimm and Francesca Sartori for The Profession
of Arms, as well as the costumes designed for The Golden Door
by Mariano Tufano, Silk by Carlo Poggioli, Primo Carnera and
Barbarossa by Massimo Cantini Parrini, The Viceroys (I Viceré)
and The Wolfman by Milena Canonero. It has also collaborated
on the films Titanic, for which costume designer Deborah Scott
won an Academy Award in 1998; Elizabeth, with costume
designer Alex Byrne; Baz Luhrman’s Moulin Rouge; Charlie and
the Chocolate Factory with Gabriella Pescucci; The Duchess, with
costumes by Michael O’Connor, who won an Academy Award
in 2009; Robin Hood, with costumes by Janty Yates and Alice in
Wonderland, with costumes by Coleen Atwood.
Of equal significance are the theatrical pieces created by up-andcoming talents such as Massimo Gasparon and Stefano Poda.
www.tirelli-costumi.com
partners
Jewelhouse
Jewel House was founded in 2009 after having acquired
the important and famous Lembo Company, founded
in 1965. Jewel House has a large selection of costume
jewellry for film, theatre and opera. A collection of
more than 10.000 pieces that include the jewelry used
for Medea (Pasolini, designed by Academy Award
Winner Piero Tosi), Kind Oedipus (Pasolini, designed by
Academy Award Winner Danilo Donati), Death in Venice
(Luchino Visconti, designed by Academy Award Winner
Piero Tosi) and many many others.
www.jewelhouse.it
20

The Art and Craft of the Costume Designer for Opera and Ballet

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