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El vestuario en la Commedia dell’Arte.

English translation

Montse Amenós has worked as scenographer and costume designer on more than one hundred theater, musical, film and television shows. His sets and costumes have stepped on the best stages of the country. He has collaborated with companies such as Dagoll Dagom, National Drama Center, National Classic Theater Company, Adolfo Marsillach, Teatre Lliure … And directors like Rosa Maria Sardà, Ventura Pons, Ariel García Valdés, Carla Santos … His experience with vintage costumes is extensive . And, on several occasions, he has designed scenographies and the costumes of Goldoni shows. He has participated in costly montages, but, this time, he will show us the process of costume design of the characters of the comedy of art from the idea of recycling.

For her, the moment of reading is very important, because from the careful reading of a dramatic text the impulse and inspiration of the future costumes of a show arise. In the text and in the dialogues one finds the spirit of the personages and the way of dressing them. Subsequent conversations with the stage director will help to realize the personality of the characters and, therefore, of the costumes.

During the slow reading, take numerous notes that will be very useful. Montse Amenós then turns to the frenzied activity of searching for images to document the subject and the time when the costume will be centered. On this occasion, he is looking for three types of images: The traditional costumes of the Comedy of Art, the costumes of the seventeenth and eighteenth centuries, concrete examples of the current dress. Afterwards, he will try to propose a costumes that evoke the time of Goldoni but from the use of clothing toralmente contemporary. This mixture, this game between both eras, is what will cause an original, playful, essentially theatrical costume to be born. With the general ideas extracted from the reading of the text and the sum of ideas inspired by the visual documentation, the artist begins to pour on the paper the first attempts in the form of sketches.

As time passes, the drawings take a more definite form and become concrete. The time has come to look for the clothes from which to work. Montse Amenós compiles material from his studio warehouse. He finds many dresses to recycle, but he does not seem to have enough. So he decides to approach a second-hand market. There he searches and rummages through rolls of cloth sold by meters and piles and piles of clothing. The criteria to choose are centered on the shape of the piece, the predominant color, the type of fabric and the prints. With the material chosen, the sketches will be made into figurines. With these drawings, the characters of the Comedy of Art, the lover and the harlequin, are already showing in all their splendor. Obviously, when she draws them she already takes into account the body and the characteristics of the actors who will interpret with those costumes. The figurines already explain the shape, the chromatism, the textures, the combinations, the prints, the character of what will be the future costumes.

These figurines are not only necessary to fix the final form of the suit, but they become the best tool to convey your proposal to the director, actors and fashion designers. Montse Amenós gathers all the clothes and complements he has collected and, together with the figurines, he goes to the construction workshop. Goretti Puente will be in charge of collecting all the information and detailed indications of the costume designer. In this way, the team of tailors and dressmakers can begin to make the costumes. We must say that, previously, the measures have been taken to the actors to be able to make the clothes to measure. Once made the appropriate indications, Montse leaves the order in the hands of the team of dressmakers. On this occasion, the clothing does not require great complexity because, as we have seen, the task is to manipulate and transform an existing clothing.

Cut. Superimpose. Put together. To combine. Almost like a collage on paper. Finally, comes the day of the costume tests. The actors dress up with the costume designer and dressmaker. It’s time to see how the characters take on the visual character you have imagined. And it is also the time to make whatever modifications are necessary. With uncontrollable emotion, the actors improvise scenes of the show ..


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