Costume Attitude Different From Halloween And Theatre

The importance of costume in the theater can not be rated too highly, for it is not only an outbound and immediately visible medium of expression for the actor himself but it is significant of the dramatic values which he is supposed to portray. Its character, whatever it may be, can be expressed by the subtle use of appropriate colors, textures and designs ; by the manner in which it is worn, by signs and tokens of identity.

Yearly , the Halloween festivity makes each individual more creative , feeling ways to make it one of the to the highest degree memorable lifetime experiences. Past the years, the celebration of the Halloween became more and more competitive, bringing out each individual’s best creative Adult Costumes ideas. In the last 20 years, the Halloween costumes have changed, from the classy and scary outfits, such as vampires and witches to more fashionable and even cute. Nowadays, we can find a wide variety of quality Halloween Costumes including amazing accessories. Usually, the children are enjoying this marvelous celebration and the often desire to impress or to scare their friends when they trick-or-treat.

This fact, if we are to trust the grounds of pictorial forms of the 5th century B.C., was one of considerable interest to all Greek artists. Elimination of unnecessary detail and exaggeration of significant form was the keynote of artistic achievement. In the following pages I have very frequently referred to the works of Home run (such references throughout are taken from the translation of Dr E. V. Rieu in Penguin Classics). My intention in so doing is to stress the source of poetical grandeur that inspired the dramatists’ vision of costume.

No detail of dress to Homer was insignificant, and whenever opportunity proffered some glittering description emergesoften literally shot through with threads of gold. But to treat such references as factual grounds of fashions of one date is dangerous, for the works of Homer have been altered over and over by the copyists in succeeding ages. The costume descriptions as we read them now do not portray the clothes of archaic times but are much nearer to the clothes worn in the fifth century B.C. and certainly comparable with the illustrations of Homeric legend painted at this date.

No one can insist that this is the correct attitude to accept regarding dramatic Halloween Costumes, but it is a possible attitude and one not unduly earthbound by archaeological research. It seems a very reasonable assumption that, in order to draw attention to some character and insist that he should not be overlooked, that character should be dressed in grander and more striking style than his companions. This is quite a obviously a practice that has persisted from time immemorial and there is no good reason to suppose that the Greek dramatists were not as aware of this as any other civilized community. One does not normally go out of one’s way to confuse an audience if diere is a story to be told with clarity and meaning ; it is only the modernistic trend towards a gimmick attraction that sets out to confuse in order to hold the supposedly jaded attention of a too critical audience.

The very grandeur of Greek drama and the size of the vast theaters where the dramatic festivals originally took place, cried out for spectacle. The clothes of the 5th century were both simple and splendid and it could not have been difficult to find suitably dramatic attire based on the patterns of the day. In fact it is quite impossible to learn any of the plays written by the ancient dramatists without realizing something of the spectacle that must have existed in their action, and the vast space that was provided for such action was obviously made use of to the full. The chariots of Agamemnon, the rolling out of the brilliant carpet, the funeral procession of Ajax, the procession at the climax of the Eumaudes, and many other examples , are all vividly told and should be vividly ordained.

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