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Karma
| Class: | THEA 1331 - Introduction To Theatre |
| Subject: | (Theatre) |
| University: | University of Houston |
| Term: | Fall 2010 |
INCORRECT
CORRECT

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Reflective quality.
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Fabric |
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Costume designers rarely meet the actors who will be wearing their costumes, leaving those responsibilities to the stage manager.
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False |
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Stethoscope
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Status and Personality |
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The most realistic makeup designs being used in the world of theatre are most often found in Japanese Kabuki Theatre presentations.
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False |
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Only something that actually attaches or pins to a costume piece is considered an accessory.
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False |
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Roman togas and soldier's helmets.
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Historical Period |
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In addition to the costumes themselves, makeup and wigs are also part of the responsibilities of the costume designer.
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True |
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Laboratory coat.
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Status and Personality |
Koofers.com
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When costumes are taken from inventory or rented from a costume house, this is known as rendering a costume
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false |
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Although masks can help print a character effectively they are not likely to appear at all in a play that is completely realistic in style.
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true |
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Masks can be used to create stereotypes similar to stock characters.
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true |
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The show stopping number from Aida, My Strongest Suit, uses Bob Crowley's costume design to support
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Style and Historical Period |
Koofers.com
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Realistic prosthetic makeup is used for both fantastical creatures like flying monkeys or in creating believable historical characters.
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False |
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A First Hand, a Cutter/Draper, a Stitcher, and a Dresser are all essential costume shop personnel working on the building/construction process of a costume.
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False |
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While it is often necessary for actors and actresses to make quick costume changes, this is a concern for the stage manager, not the costume designer.
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False |
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Bustles or corsets affect this.
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Line, shape, and silhouette |
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Undergarments are not a concern of the costume designer.
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False |
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Distinguishing major from minor characters.
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Relationships |
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Color can be used to indicate changes in character.
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True |
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The invention of Velcro and/or the use of Whopper Poppers have been a great help in quick backstage costume changes.
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True |
Koofers.com
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When a costume is created in the costume shop under the supervision of the designer, this is known as building a costume.
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True |
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While fabric affects the silhouette, texture, and bulk of a costume, it has little symbolic value.
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False |
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Because costumes must stand out from the scenery in order to be seen, costumes are rarely designed to be consistent with the scenic design for a production.
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FALSE |
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Walking sticks and parasols.
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Accessories |
Koofers.com
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While it is often necessary for actors and actresses to make quick costume changes, this is a concern for the stage manager, not the costume designer.
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False |
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Definition |
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Front |
Back |
|
|---|---|---|
| Reflective quality. | Fabric | |
| Costume designers rarely meet the actors who will be wearing their costumes, leaving those responsibilities to the stage manager. | False | |
| Stethoscope | Status and Personality | |
| The most realistic makeup designs being used in the world of theatre are most often found in Japanese Kabuki Theatre presentations. | False | |
| Only something that actually attaches or pins to a costume piece is considered an accessory. | False | |
| Roman togas and soldier's helmets. | Historical Period | |
| In addition to the costumes themselves, makeup and wigs are also part of the responsibilities of the costume designer. | True | |
| Laboratory coat. | Status and Personality | |
| When costumes are taken from inventory or rented from a costume house, this is known as rendering a costume | false | |
| Although masks can help print a character effectively they are not likely to appear at all in a play that is completely realistic in style. | true | |
| Masks can be used to create stereotypes similar to stock characters. | true | |
| The show stopping number from Aida, My Strongest Suit, uses Bob Crowley's costume design to support | Style and Historical Period | |
| Realistic prosthetic makeup is used for both fantastical creatures like flying monkeys or in creating believable historical characters. | False | |
| A First Hand, a Cutter/Draper, a Stitcher, and a Dresser are all essential costume shop personnel working on the building/construction process of a costume. | False | |
| While it is often necessary for actors and actresses to make quick costume changes, this is a concern for the stage manager, not the costume designer. | False | |
| Bustles or corsets affect this. | Line, shape, and silhouette | |
| Undergarments are not a concern of the costume designer. | False | |
| Distinguishing major from minor characters. | Relationships | |
| Color can be used to indicate changes in character. | True | |
| The invention of Velcro and/or the use of Whopper Poppers have been a great help in quick backstage costume changes. | True | |
| When a costume is created in the costume shop under the supervision of the designer, this is known as building a costume. | True | |
| While fabric affects the silhouette, texture, and bulk of a costume, it has little symbolic value. | False | |
| Because costumes must stand out from the scenery in order to be seen, costumes are rarely designed to be consistent with the scenic design for a production. | FALSE | |
| Walking sticks and parasols. | Accessories | |
| While it is often necessary for actors and actresses to make quick costume changes, this is a concern for the stage manager, not the costume designer. | False | |
| Definition |
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