Tag Archive | theatre

Gwenllian ferch Gruffydd Análisis De La Escena: Vestuario

gwenllian-three-acts-espanol-web

Ya disponible.

Traducido por Andrés Sotelo Soria:

Buen día y bienvenido seas a tu viaje como recreador, actor o productor de una de las Obras Teatrales de las Mujeres Legendarias de la Historia Mundial.
Como historiadora, me apasiona la historia. Adoro pocas cosas más que ver una obra de teatro del periodo correcto en la que se representan de forma exacta los vestuarios. Pero, ¿qué se puede hacer si tienes poco presupuesto o si vas a montar las obras de “Gwenllian ferch Gruffydd” o de “La Emperatriz Matilda”? ¿Qué pasa si no tienes años de experiencia en investigación de vestidos medievales?

La siguiente es una guía general para las producciones de “Gwenllian ferch Gruffydd: Un obra en tres actos” y para la reconstrucción general de personajes del siglo XII:

ANÁLISIS DE LA ESCENA: VESTUARIO

A menos que se especifique en algún otro sitio, los personajes usan atuendos comunes del siglo XII

MUJERES: vestidos de túnica que llegan hasta el suelo y los primeros briales conocidos, ambos usados con cinturones largos que se ajustan fijamente alrededor de la cintura. Los briales (cuando se usen) se atan de lado. Las capas se usan en la noche y durante los meses de invierno.  Las galesas usan una continuación de la antigua capa envuelta y asegurada con un prendedor llamada “brat”.

bliaut-1bliaut-patternas-veils

HOMBRES:  camisas de túnica que caen hasta la rodilla y pantalones sencillos. El cinturón está amarrado fijamente a la cintura. Las capas se usan en la noche y durante los meses de invierno.  Los galeses usan una continuación de la antigua capa envuelta y asegurada con un prendedor llamada “brat” La jerarquía tanto de los hombres como de las mujeres se muestra a través del tipo de tela y los adornos con bordados elaborados a lo largo del escote, las mangas y dobladillos en los dobladillos de la ropa usada por la realeza. La joyería también establece la jerarquía con anillos elaborados y gargantillas llevadas por los ricos y poderosos.  Nota:  los collares de librea (los cuales se posan de forma plana contra el cuerpo en vez de colgar libremente en el cuello) se usaron por primera vez en el siglo XIV y, por lo tanto, están fuera de este periodo.  Vestuario especialPrólogo: el fantasma de Gwenllian usa un brial de color azul pálido con rosas blancas y narcisos amarillos bordados a lo largo del dobladillo.  Es el mismo vestido que usa Gwenllian en el Acto I, Escena VIII.

Acto I, Escena II: El lodo cubre las capas y las botas de Hywel y el príncipe Gruffydd.

Acto I, Escena VII: Gwenllian usa un bello vestido y una capa bordada.  Su cabello pelirrojo está perfectamente trenzado y cae sobre su espalda.  Una diadema sencilla de nobleza oculta su verdadera posición social como la hija del rey.

Acto I, Escena VIII: Gwenllian usa un brial de color azul pálido con rosas blancas y narcisos amarillos bordados a lo largo del dobladillo.  Lleva sobre su cabeza la diadema real de una princesa de Gwynedd sobre su cabello trenzado descubierto.

Acto III, Escena I: la dama de compañía pone una capa gruesa sobre el vestido de túnica sencillo de Gwenllian. Los sirvientes colocan una armadura pesada sobre el príncipe Gruffydd sobre la cual atan una capa gruesa.

Acto III, Escena II: la armadura del príncipe Morgan, su ropa y su cara están cubiertos de sangre, lodo y hollín.

Acto III, Escena V: los granjeros usan túnicas y pantalones viejos y en su mayoría raídos. Gruffydd ap Llewellyn usa una armadura modesta y está armado con armas de calidad. Morgan y Maelgwn llevan una armadura y armas finas.

 

Roman British Costuming: General Guidelines for “Boudicca: A Play in Three Acts”

roman-woman

A Roman lady wears a tunic (white), stola (blue), and palla (red).

As a historian, history is my passion.  I love few things better than seeing a period-correct drama where the costumes are accurately rendered.  But what do you do if your budget is small or you are playing scenes from “Boudicca: A Play in Three Acts” or Shakespeare’s “Julius Caesar?” What if you don’t have years of expertise researching Roman and Roman-British clothing?

The following is a general guide for productions of “Boudicca: A Play in Three Acts” and for general re-enactment of Roman and Roman-British characters/personae:

 

 

BRITISH CLOTHING

brythonic-brat

The brat is a 2 meter long, 30″ wide heavy wool rectangle that is wrapped or pinned around the body to protect the wearer from the elements. Worn across “Celtic” societies on both the continent and the British islands. The late medieval “kilt” of Scotland evolved from the ancient brat which can be pinned and belted (as above) as desired or simply folded and wrapped around the body in dozens of different ways.

Simple wool tunics.  Men wear shorter tunics with warm, simple-cut trousers. The trousers of upper class warrior men are cropped with hemlines between the knee and an ankle.  Women wear ankle length tunics.  Both sexes wear brats: a heavy and often coarsely woven rectangular shawl folded lengthwise across the body.  The brat may be worn as a shawl, draped and pinned as a cloak, draped and pinned as a surcoat, or simply folded and pinned secure to the upper breast.  Jewellery is abundant and includes decorative broaches.

ROMAN CLOTHING

roman-clothing-1

Men wear knee length tunics called “chitons.”  Over this common men wrap a rectangular cloak similar to a brat that is often pinned securely. High ranking men wear togas over their chitons instead of a cloak.

Women wear a long-sleeved tunic dress covering most of the body.  Over this women wear a stola which is high-waisted and held together at the shoulders by broaches.   The top layer for upper class Roman women is her palla which is wrapped around her in dozens of different ways to cover her head, warm her like a cloak, or even serve as a female version of a toga.

the-roman-palla

The Roman palla and how to wear it.

Roman soldiers wear armour and carry a gladius (a short thrusting sword) at all times.

 

roman-legionaire

Components to a Roman legionnaire’s armour.

Special costuming for “Boudicca: A Play in Three Acts”and for general reenactment of Roman British characters/personae

Act I, Scene I: Prasutagus wears the fine linen/wool that marks him as a member of the upper class with decorative trim along the hem edges of his tunic and brat.  Roman bureaucrat wears a toga marking him as a Roman citizen and aide to the Roman governor.  The broach securing Boudicca’s brat features a raven as a mark of her devotion to Cathubodva.

Act I, Scene II:  Boudicca wears a Roman stola over her Celtic tunic dress.  A palla drapes across her body like a shawl.  Her flaming red hair is now elaborately braided and pinned up matronly.

Act I, Scene III:  Boudicca and Prasutagus wear their finest woollen tunics with embroidered trim along sleeve, hem, and neckline edges. Boudicca’s brat is made of a much finer wool than we saw in Scene I which is soft blue or lavender in colour.  King Prasutagus wears a polished circlet or crown.  Boudicca wears a coronet of spring flowers over her braided hair.  Linet wears a tiara or circlet made of oak leaves and a silver necklace.

Act I, Scene IV: Gaius and Roman Bureaucrat wear togas over their tunics.

Act III, Scene I:  Gaius and Roman Bureaucrat both wear togas over their tunics.

Act III, Scene III:  Gaius wears full battle armour instead of his toga.

 

From Act II, Scene V forward Roman soldiers also carry shields.

Early Fifteenth Century Costuming: General Guidelines for “Catherine de Valois: A Play in Three Acts”

 

Isabeau of Bavaria

Queen Isabeau of Bavaria in her royal houppeland.

As a historian, history is my passion.  I love few things better than seeing a period-correct drama where the costumes are accurately rendered.  But what do you do if your budget is small or you are playing scenes from “Catherine de Valois: A Play in Three Acts” or Shakespeare’s “Henry V?” What if you don’t have years of expertise researching medieval gowns?

The following is a general guide for productions of “Catherine de Valois: A Play in Three Acts” and for general re-enactment of  early 15th century characters/personae:

WOMEN:  A cotehardie.  Over her cotehardie she wears either a side-less surcoat or a floor length houppelande. In adults, hair is typically kept up and under a veil or period headpiece.  Wimples are sometimes worn under the chin.

MEN:  Knee length doublets over a white shirt. Over this men also sometimes wore houppelandes cover the upper body.  Hose covers lower body in all cases.  Indoors men wear simple leather shoes or ankle-length boots. Men wear hats.  Outdoors men wear knee length boots.

Additional examples of cotehardies,  houppelands, and hairstyles can be found across my many pinterest boards.

cotehardie-with-sideless-surcoat

Cotehardie with sideless surcoat.  Note that cotehardies may be either back laced (as in this example) or side-laced.

Special costuming for “Catherine de Valois: A Play in Three Acts”and for general reenactment of early 15th century characters/personae

PROLOGUE/EPILOGUE: Margaret wears a wedding veil on her head which is secured by a wreath of flowers.

Act I, Scene VII: Queen Isabeau is richly dressed in a velvet houppelande.  Catherine wears a white cotehardie.  Fleur-de-lys adorn Catherine’s royal blue velvet side-less surcoat.  Mother and daughter are dressed to impress as they wait to meet King Henry of England.

Act I, Scene VIII: Catherine wears a Christmas green houppelande.  In her hair she wears a circlet of holly and berries.  Queen Isabeau wears exactly the same dress as she wears in act one, scene two.

Act II, Scene II: The duke’s clothes are noble, but showing some wear.

Act II, Scene III: Catherine wears a loose houppelande to cover her slightly pregnant belly.

Act III, Scenes I, II: Catherine wears a bright white gown, veil, and wimple in accord with medieval mourning customs.

Act III, Scene III: Catherine wears the white cotehardie and blue side-less surcoat that she wore in

Act I, Scene VII. On her head is the crown given to her at her coronation as queen of England.

Twelfth Century Costuming: General Guidelines for “Gwenllian ferch Gruffydd: A Play in Three Acts”

queenly-12th-century-ensemble

Fit for a 12th century queen! Heavily embroidered bliaut, cloak, veil, coronet, and wimple.

Bore da! Good morning and welcome to your journey as a medieval re-enactor, actor, or producer of one of the Legendary Women of World History Dramas.

As a historian, history is my passion.  I love few things better than seeing a period-correct drama where the costumes are accurately rendered.  But what do you do if your budget is small or you are playing scenes from either “Gwenllian ferch Gruffydd” or “Empress Matilda of England” stage dramas? What if you don’t have years of expertise researching medieval gowns?

The following is a general guide for productions of “Gwenllian ferch Gruffydd: A Play in Three Acts” and for general re-enactment of 12th century characters/personae:

WOMEN: Floor length tunic dresses and early stage bliauts, both worn with long belts that are knotted secure around the waist. Bliauts (when worn) are side-laced. Cloaks are worn at night and during the winter months.  A continuation of the ancient wrapped and pinned style of cloak called a “brat” is worn by the Welsh.

 

bliaut-1

A simple bliaut showing the side lacing.

bliaut-pattern

A simple bliaut pattern

as-veils

Anglo-Saxon veils and wimples (600-1154)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Most adult Anglo-Saxon and  Anglo-Norman women in this period wear veils and wimples on their head, neck, and shoulders.

MEN:  Knee to floor length tunic shirts and simple trousers. Belt is knotted secure at the waist. Cloaks are worn at night and during the winter months.  A continuation of the ancient wrapped and pinned style of cloak called a “brat” is worn by the Welsh.

 

For both women and men rank is displayed through the type of fabrics worn and ornamentation with elaborate embroidery along the neckline, sleeve, and hemline on the hemline of clothing worn by the royals. Jewellery also establishes rank with elaborate rings and necklaces worn by the rich and powerful.

 

Note:  livery collars (which lay flat against the body instead of hanging freely from the neck) were first worn in the 14th century and therefore are out of period.

 

Special costuming suggestions for “Gwenllian ferch Gruffydd: A Play in Three Acts:”

Prologue: Gwenllian’s Ghost wears a pale blue bliaut with white roses and yellow daffodils embroidered along the hemline.  This is the same gown Gwenllian wears in Act I, Scene VIII.

Act I, Scene II:  Mud covers Hywel and Prince Gruffydd’s cloaks and boots.

Act I, Scene VII: Gwenllian wears a beautiful gown and embroidered cloak.  Her red hair is braided neatly down her back.  A simple circlet of nobility conceals her true status as the king’s daughter.

Act I, Scene VIII: Gwenllian wears a pale blue bliaut with white roses and yellow daffodils embroidered along the hemline.  On her head she wears the royal circlet of a princess of Gwynedd over her otherwise uncovered braided hair.

Act III, Scene: Lady in waiting puts a heavy cloak over Gwenllian’s simple tunic dress. Servants put heavy plate armour onto Prince Gruffydd over which they fasten a heavy cloak.

Act III, Scene II: Prince Morgan’s armour, clothing, and face are covered in blood, mud, and soot.

Act III, Scene V: Farmers wear old and mostly worn out tunics and trousers. Gruffydd ap Llewellyn wears modest armour and is armed with quality weapons. Morgan and Maelgwn wear very fine plate armour and weapons.

Music & Theatre: the Picture Emerging as I Research Gloriana

Hello everyone. I hope everyone is finally getting some warmth and beautiful spring weather.  I know it’s been a while since I wrote more personally and especially since I wrote anything about history, my life-long passion.

Complete Series 3DSince publishing Catherine de Valois (coming to Audible in May or June) in June, I wrote and published two non fiction books and finished the Peers of Beinan Series with “Princess Anyu Returns” followed by a trilogy edition of “The Legacy of Princess Anlei” and “The Complete Series” which is one volume for all six Peers of Beinan Series books.  Now my heart returns to history.

As I research “Journey to Gloriana” about the life of Queen Elizabeth I and “Mary Queen of the Scots” I have found some intriguing information about music and theatre that I would like to share today.  The information I found was not in some aggressive search nor acquired by consulting experts (for which I am known), but almost by “accident” if there is such a thing as I seek to discover who Elizabeth I and Mary of Scotland really were.

Here is the picture emerging before me:

  • Music, theatre, and dance originally served as key conduits for communicating the culture, religion, and especially history of ancient societies.
  • As Christianity spread into Europe, secular music, theatre, and dance yielded to church-controlled forms.  The performing arts became the domain of Roman Catholicism to be used for its particular religious and political agendas.
  • The English Renaissance and the reign of Queen Elizabeth I saw church controls over music, dance, and especially theatre break down.  This brought a surge of secular music (especially for dancing) and construction of the first theatres (starting in the 1570s) in London such as The Globe.
Royal Oak Bartshill

The Rolling Stones Now tribute band to the Rolling Stones perform in England.

We all take it for granted that music, dance, and theatre exists outside of the Church.  But the reality is that for many centuries, these were essentially forbidden.  We owe it to Queen Elizabeth I’s own love of secular music, theatre, and dance for the wealth of choices and freedoms we have today.  No longer does religion define and limit how we express ourselves culturally.  We can write, perform, and enjoy a limitless number of songs, dances, plays, and films of our own free choosing.

Though the Church may always wish to control the message (that has not changed in nearly 2000 years), I find it a great blessing to live in a free society where free expression in the performing arts reigns supreme, where each of us can enjoy whatever we like whenever we like.

May we always safeguard and protect that freedom whenever in the world we live.