Senior Choreography Designer Evaluation
Designer: Me
This was my first experience as a real designer and I must say that it was a total disaster! From what I knew, my job as a designer is to discuss with the choreographer their specific pieces, get to know and understand their concepts and develop a concept of my own that would enhance their dance, and get to know the dance itself. Once the choreographer and I make decisions and approved my designs I am responsible for pulling the required garments, having them fit, and then repaired or altered accordingly. I, however, was not prepared for what would happen. Many of the problems could have been avoided had I started on my process earlier, had better communication with my choreographers, and been better acquainted with the dances. Let us begin with Justin Kam’s piece.
What I originally designed for Justin, he liked. The beginning problem was that I did not take into account the actions and movement of the dancers. After discussions with Barbara, she brought to my attention specific questions I had not thought of. Such as; are the girls wearing shoes? If they are not, they cannot wear footed tights or they will fall. Are the dancers going to be rolling around on the floor? If they are, the skirts they are wearing could be ripped. Will the costumes inhibit their dancing in anyway? All of which are very valid questions. The answers would inevitable lead me to drastically change my design. The type of dancing these girls would be involved in would not allow them to wear what I had pulled. It was really an issue of safety for both the dancers and the costumes. From here, everything simply went downhill. Justin was stuck with the images I had originally created and refused to let go. My second set of ideas and designs were much more simplistic. Just was not pleased and I refused to defer from my idea. When getting the girls scheduled for fittings, Domaschk complained because she was uncomfortable wearing white and Justin then told me to change my designs again to having them all wear black. I did so, and began my third round of pulling. All the girls came in, I fit them, and most of the work was accomplished on their costumes. Justin then approached me and decided he did not want them all in black. I was pissed. I had already pulled three times and, had fittings, and again had most of the work done. Now I was being forced to start over again. I was thoroughly frustrated and did not know what to do at this point. Justin decided that he would help me out and created some designs of his own. I took his deigns and did my best to pull what he wanted. We fit the girls in it and again, something happened and Justin changed his mind. At that point, I was so fed up, I was ready to quit. Probably the main reasons I felt this way was because I really had no control of the situation and had no say so; I was no longer a designer, but a costumer. Barbara stepped into the situation and forced Justin and I to talk and try to get the situation resolved. We talked for a couple hours, throwing ideas back and forth, developing ideas, but Justin never made a concrete decision and his thoughts constantly changed. I did not know what to do and how to handle the situation! We went downstairs in the basement to see if he liked anything we had and Barbara accompanied us. She gave him some ideas of which he finally agreed. Justin and I pulled the clothes and I prepared for fittings. The next day the girls came in once again for fittings. Justin was a little uneasy about what we had chosen but approved everything. They went to their cue to cue and when they came back Justin had changed his mind and decided to throw it all out. Mind you, this was Saturday, and we dressed Monday. He then told me to simplify it and put them all in black! I could not believe it. I had already did that and he had made me change it! Now we were going back. We wasted all that time and work, for nothing! I almost lost it. Nevertheless, I simply grinned, pulled the costumes, and had the girls fit again. The girls complained again about what I had chosen and in the end they all brought in whatever they wanted. Domaschk asked if she could wear a skirt and I said it was fine. I think only two things they wore were things I had chosen. I pretty much did not care at this point. At the first dress rehearsal, I thought the girls looked fine. The only thing I had a problem with was Domaschk’s skirt and I told her not to wear it because it looked bad and did not work well with the other costumes. She grumbled over it but I made the decision and asked her to not wear it again. She kept asking me if she could wear another skirt, shorts, or something. I kept telling her no because it just did not go. Eventually she realized she did not have a say in the matter and stopped asking. I pulled some last minute chokers but that I did not mind. Overall, I really hated working on this piece. I know I could have done a much better job and I really need to work on my people skills. I do not consider Justin Kam’s piece to be anything I designed and wish my name was not attached to it in any capacity. Even though it was such a horrific experience, I did learn quite a bit. I acquainted myself well with the dancer room in the basement and I learned how to be a little bit more patient. I learned that I need to ask more questions, communicate better and more frequently, be more aware of what is going on around me, and strive to involve myself more deeply. Commitment is another important aspect of this project. I could have easily quit, and perhaps at some level I did, but nonetheless I stuck through all the challenges. This definitely was not my best work and I am not at all pleased with the outcome.
Angela Dearman’s piece itself had its problems, but I am much more at ease with it and feel that I did have a hand in the actual design process. Angela at first was very unclear with what she wanted. She threw out some ideas and I came up with different concepts from them. I showed them to her and we discussed them. She told me what she liked, what she did not, and some specifics that she would require. The most important article of clothing she wanted was Capri pants. I knew from the beginning that we did not have any and we were not allowed to cut pants. So I figured we just hem some. I could not begin pulling however, because I did not have sizes for her dancers. Even then, one girl in particular after she finally did show, left out the two measurements that I needed! Frustrations much, do not forget I was dealing with Justin at the same time. I finally got the girls measurements and pulled some leotards and tights for the girls. From our stock, I pulled footless tights in the colors Angela had requested to the best of my ability. Angela did not like the leotards and requested sleeveless leotards, and approved the color of the tights. Well from what I understood, she approved. I did not fit the girls because I wanted to get the pants and at this time, I learned we had a budget and I would be able to buy Capri pants. I shopped around and searched through some dance magazines. I called Angela several times to verify the type of Capris that she wanted. Did she want baggy or tight fitting Capris? She did not want baggy Capris because she wanted the leg to be seen, she wanted it to be tight on the leg. I interpreted this to mean she wanted tight Carpis so that is what I bought. Along with the capris she wanted a swatch of fabric to be attached to the neck and flow. Many time I asked her how she would like the fabric to flow. Did she want ruffles? Did she want it to be dangly and sporadic? It is difficult to describe so I did a couple quick sketches and she chose the look she liked best. It was a fluttery dangly kind of thing on the neckline. So, we settled that issue. I worked over the weekend on the fabric for the leotards and readied the pants to be fit. Saturday evening the girls came in before cue to cue for their fittings. I showed the fabric I had cut and sewed to see if it was what she wanted. It was not. She did not mean she wanted the fabric to be fluttery, flowy, or loose, which is what I had drawn. She wanted the fabric to attach to the neck as if it was part of the garment just a different color. Again, a whole day down the drain. I took the first girl into the fitting room and we got her dressed. Angela came in and told me that the pants were all wrong too. She wanted them to be tight on the leg yes, but she also wanted it to flare at the knee. Uhh.. We never discussed flaring at the knee, but that is what she wanted. So not only did I have to start over with the fabric, I had to find time to get back to the Dance Store and exchange the pants. She apparently had not been happy about the color of the tights. I would have given her brighter colors from the beginning but I knew we were not allowed to cut tights. That is why I chose the ones I did. Barbara once again stepped in to save the day and help me. She helped me with my decisions and gave me permission to cut tights, which allowed me to give Angela what she wanted. Long story short, I got the pants exchanged, fit and altered to be Capris and it was done. Though the process towards the end of this dance piece was horrific, the outcome was successful. From my Angela Dearman experience, I learned some things as well. I learned to be more specific, not only in my discussions and questions, but in my renderings as well. It is always better to ask than to guess or assume. Do not be afraid of Barbara and it does not hurt to ask. The worst she can reply to a request is no. I also got to know the people at dance world a little better and some of the different things they carry.
In dance rehearsals I had the opportunity to grow in, not my hatred, but dislike of dancers. Before I used to think that the dancers should be in our building with us and we could all merge into one big happy department. Now, not so much. At one point I was backstage in the dressing room hall doing last minute designer things, such as cutting the feet of tights so my dancers would not slip, when a dancer asked me to cut her tights too because they had the stirrup rolled up and it looked funny. I apologized and told her I could not cut them for her. As I walked away to continue my work I heard her complain to the other dancers and comment how I had scissors in my hand, I could obviously cut them. I ignored her, but when I came out of one of the dressing rooms, I saw one of the dancers walk down the fall with a pair of scissors in her hand. Now I do not know for a fact that the girls cut their tights, but it is very likely that they did. So I went to the costume crew and warned them that if any dancer asked them to cut their tights for them, not to. I really did not have many problems with the dancers after that as I avoided going back stage at all costs.
Therefore, my basic experience was not fun in the least bit. It was definitely not good what I went through and not encouraging as my first design. It highly made me doubt myself as a designer and whether or not I can make it in this field. I feel that I was totally unprepared for certain aspects of being a designer. Sure I can draw pretty pictures and come up with design concepts. However, in class, we are not taught how to deal with designers and choreographers. We are not forced to start over and develop new ideas. I do not recall having a professor look at my work and reject it. Perhaps they give suggestions on how to improve it or ask us to change something, but that is all. “Senior Chore” definitely was a wake up call and made me realize the different aspects to designing. I do not feel that I really designed anything. For the most part, I just took what the choreographers wanted and made it visual. I did not design, I costumed. If I had to grade myself, I would give myself a C minus. I only see myself passing because I did not utterly give up and because in the end, Angela’s piece was successful. Other than that, this experience was a failure.
Designer: Me
This was my first experience as a real designer and I must say that it was a total disaster! From what I knew, my job as a designer is to discuss with the choreographer their specific pieces, get to know and understand their concepts and develop a concept of my own that would enhance their dance, and get to know the dance itself. Once the choreographer and I make decisions and approved my designs I am responsible for pulling the required garments, having them fit, and then repaired or altered accordingly. I, however, was not prepared for what would happen. Many of the problems could have been avoided had I started on my process earlier, had better communication with my choreographers, and been better acquainted with the dances. Let us begin with Justin Kam’s piece.
What I originally designed for Justin, he liked. The beginning problem was that I did not take into account the actions and movement of the dancers. After discussions with Barbara, she brought to my attention specific questions I had not thought of. Such as; are the girls wearing shoes? If they are not, they cannot wear footed tights or they will fall. Are the dancers going to be rolling around on the floor? If they are, the skirts they are wearing could be ripped. Will the costumes inhibit their dancing in anyway? All of which are very valid questions. The answers would inevitable lead me to drastically change my design. The type of dancing these girls would be involved in would not allow them to wear what I had pulled. It was really an issue of safety for both the dancers and the costumes. From here, everything simply went downhill. Justin was stuck with the images I had originally created and refused to let go. My second set of ideas and designs were much more simplistic. Just was not pleased and I refused to defer from my idea. When getting the girls scheduled for fittings, Domaschk complained because she was uncomfortable wearing white and Justin then told me to change my designs again to having them all wear black. I did so, and began my third round of pulling. All the girls came in, I fit them, and most of the work was accomplished on their costumes. Justin then approached me and decided he did not want them all in black. I was pissed. I had already pulled three times and, had fittings, and again had most of the work done. Now I was being forced to start over again. I was thoroughly frustrated and did not know what to do at this point. Justin decided that he would help me out and created some designs of his own. I took his deigns and did my best to pull what he wanted. We fit the girls in it and again, something happened and Justin changed his mind. At that point, I was so fed up, I was ready to quit. Probably the main reasons I felt this way was because I really had no control of the situation and had no say so; I was no longer a designer, but a costumer. Barbara stepped into the situation and forced Justin and I to talk and try to get the situation resolved. We talked for a couple hours, throwing ideas back and forth, developing ideas, but Justin never made a concrete decision and his thoughts constantly changed. I did not know what to do and how to handle the situation! We went downstairs in the basement to see if he liked anything we had and Barbara accompanied us. She gave him some ideas of which he finally agreed. Justin and I pulled the clothes and I prepared for fittings. The next day the girls came in once again for fittings. Justin was a little uneasy about what we had chosen but approved everything. They went to their cue to cue and when they came back Justin had changed his mind and decided to throw it all out. Mind you, this was Saturday, and we dressed Monday. He then told me to simplify it and put them all in black! I could not believe it. I had already did that and he had made me change it! Now we were going back. We wasted all that time and work, for nothing! I almost lost it. Nevertheless, I simply grinned, pulled the costumes, and had the girls fit again. The girls complained again about what I had chosen and in the end they all brought in whatever they wanted. Domaschk asked if she could wear a skirt and I said it was fine. I think only two things they wore were things I had chosen. I pretty much did not care at this point. At the first dress rehearsal, I thought the girls looked fine. The only thing I had a problem with was Domaschk’s skirt and I told her not to wear it because it looked bad and did not work well with the other costumes. She grumbled over it but I made the decision and asked her to not wear it again. She kept asking me if she could wear another skirt, shorts, or something. I kept telling her no because it just did not go. Eventually she realized she did not have a say in the matter and stopped asking. I pulled some last minute chokers but that I did not mind. Overall, I really hated working on this piece. I know I could have done a much better job and I really need to work on my people skills. I do not consider Justin Kam’s piece to be anything I designed and wish my name was not attached to it in any capacity. Even though it was such a horrific experience, I did learn quite a bit. I acquainted myself well with the dancer room in the basement and I learned how to be a little bit more patient. I learned that I need to ask more questions, communicate better and more frequently, be more aware of what is going on around me, and strive to involve myself more deeply. Commitment is another important aspect of this project. I could have easily quit, and perhaps at some level I did, but nonetheless I stuck through all the challenges. This definitely was not my best work and I am not at all pleased with the outcome.
Angela Dearman’s piece itself had its problems, but I am much more at ease with it and feel that I did have a hand in the actual design process. Angela at first was very unclear with what she wanted. She threw out some ideas and I came up with different concepts from them. I showed them to her and we discussed them. She told me what she liked, what she did not, and some specifics that she would require. The most important article of clothing she wanted was Capri pants. I knew from the beginning that we did not have any and we were not allowed to cut pants. So I figured we just hem some. I could not begin pulling however, because I did not have sizes for her dancers. Even then, one girl in particular after she finally did show, left out the two measurements that I needed! Frustrations much, do not forget I was dealing with Justin at the same time. I finally got the girls measurements and pulled some leotards and tights for the girls. From our stock, I pulled footless tights in the colors Angela had requested to the best of my ability. Angela did not like the leotards and requested sleeveless leotards, and approved the color of the tights. Well from what I understood, she approved. I did not fit the girls because I wanted to get the pants and at this time, I learned we had a budget and I would be able to buy Capri pants. I shopped around and searched through some dance magazines. I called Angela several times to verify the type of Capris that she wanted. Did she want baggy or tight fitting Capris? She did not want baggy Capris because she wanted the leg to be seen, she wanted it to be tight on the leg. I interpreted this to mean she wanted tight Carpis so that is what I bought. Along with the capris she wanted a swatch of fabric to be attached to the neck and flow. Many time I asked her how she would like the fabric to flow. Did she want ruffles? Did she want it to be dangly and sporadic? It is difficult to describe so I did a couple quick sketches and she chose the look she liked best. It was a fluttery dangly kind of thing on the neckline. So, we settled that issue. I worked over the weekend on the fabric for the leotards and readied the pants to be fit. Saturday evening the girls came in before cue to cue for their fittings. I showed the fabric I had cut and sewed to see if it was what she wanted. It was not. She did not mean she wanted the fabric to be fluttery, flowy, or loose, which is what I had drawn. She wanted the fabric to attach to the neck as if it was part of the garment just a different color. Again, a whole day down the drain. I took the first girl into the fitting room and we got her dressed. Angela came in and told me that the pants were all wrong too. She wanted them to be tight on the leg yes, but she also wanted it to flare at the knee. Uhh.. We never discussed flaring at the knee, but that is what she wanted. So not only did I have to start over with the fabric, I had to find time to get back to the Dance Store and exchange the pants. She apparently had not been happy about the color of the tights. I would have given her brighter colors from the beginning but I knew we were not allowed to cut tights. That is why I chose the ones I did. Barbara once again stepped in to save the day and help me. She helped me with my decisions and gave me permission to cut tights, which allowed me to give Angela what she wanted. Long story short, I got the pants exchanged, fit and altered to be Capris and it was done. Though the process towards the end of this dance piece was horrific, the outcome was successful. From my Angela Dearman experience, I learned some things as well. I learned to be more specific, not only in my discussions and questions, but in my renderings as well. It is always better to ask than to guess or assume. Do not be afraid of Barbara and it does not hurt to ask. The worst she can reply to a request is no. I also got to know the people at dance world a little better and some of the different things they carry.
In dance rehearsals I had the opportunity to grow in, not my hatred, but dislike of dancers. Before I used to think that the dancers should be in our building with us and we could all merge into one big happy department. Now, not so much. At one point I was backstage in the dressing room hall doing last minute designer things, such as cutting the feet of tights so my dancers would not slip, when a dancer asked me to cut her tights too because they had the stirrup rolled up and it looked funny. I apologized and told her I could not cut them for her. As I walked away to continue my work I heard her complain to the other dancers and comment how I had scissors in my hand, I could obviously cut them. I ignored her, but when I came out of one of the dressing rooms, I saw one of the dancers walk down the fall with a pair of scissors in her hand. Now I do not know for a fact that the girls cut their tights, but it is very likely that they did. So I went to the costume crew and warned them that if any dancer asked them to cut their tights for them, not to. I really did not have many problems with the dancers after that as I avoided going back stage at all costs.
Therefore, my basic experience was not fun in the least bit. It was definitely not good what I went through and not encouraging as my first design. It highly made me doubt myself as a designer and whether or not I can make it in this field. I feel that I was totally unprepared for certain aspects of being a designer. Sure I can draw pretty pictures and come up with design concepts. However, in class, we are not taught how to deal with designers and choreographers. We are not forced to start over and develop new ideas. I do not recall having a professor look at my work and reject it. Perhaps they give suggestions on how to improve it or ask us to change something, but that is all. “Senior Chore” definitely was a wake up call and made me realize the different aspects to designing. I do not feel that I really designed anything. For the most part, I just took what the choreographers wanted and made it visual. I did not design, I costumed. If I had to grade myself, I would give myself a C minus. I only see myself passing because I did not utterly give up and because in the end, Angela’s piece was successful. Other than that, this experience was a failure.
0 Comments:
Post a Comment
<< Home