With the play originating in 431 B.C.E, during the Classical Greece period, we were tasked with transposing the script to a more recent era, given the option of a decade of our choice ranging from the 1950s to 1990s. This meant that while the script remained the same, featuring the same lines and events, our depiction of the play was to be set during one of the decades within this range. Due to this, our designs for the play, for example, the set and costumes, were now to take on the appearances of our chosen period, instead of that of 431 B.C.E, which meant that our initial ideas from the Classical Greek era became redundant to the design process of the play. In order to make the play's appearance accurate to our individually selected decades, we were required to perform further research, this time, focusing on our chosen decades.
For this project, I decided to transpose the script to the 1950s. This is due to the similarities between the social structure, in particular, the attitudes towards women, of the Greek culture of 431 B.C.E, when the play made its debut performance. The attitude towards women within the 1950s was primarily around the family structure of that time, with men going out to work and women remaining at home to provide parental care to the children and perform general home maintenance, such as cleaning the laundry. Women of ancient Greece, it would seem, lived a very similar secluded life with the house being viewed as a “prison without bars.” (Durando, 1997:68) This view of life for ancient Greek women would seem to be replicated to a certain extent in the 1950s, which were slightly more lenient, as women would often socialize where possible, which could be used for the group of individuals that make up the Chorus. With this as a guide, it was required of me to research this period further, paying particular attention to items and elements that will greatly effect the design and appearance of the final outcomes for this play.
1950s Research
Houses
In the early 1950s, Britain was just beginning to recover from the destruction caused by the Second World War, during which many houses and homes were destroyed. By the later parts of the decade, the nation had recovered and many houses were constructed similarly to those of Victorian and Edwardian times, commonly with red brick exteriors, but with fewer rooms within. Councils also started to build more estates to house the population. Within these new homes, particularly with young home-owners, came the popular trend of DIY, or 'Do It Yourself'.
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| 01. 1950s 'red brick' house |
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| 02. Sketch of 1950s style house |
Interior Design
Due to new scientific discoveries, new materials were becoming available to use for furnishing. These materials, such as plastic, plywood and synthetic fabrics, also required and developed new manufacturing techniques, which nowadays are common-place.
Another key aspect to consider is colour, which was often used in vibrant forms, and utilised to produce various types of pattern. Common types of pattern to emerge were gingham, checks and stripes. Floral patterns were also common.
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| 03. 1950s style interior design |
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| 04. 1950s style interior design |
Street Parties
Street parties first appeared in 1919, known then as 'Peace Teas', after World War I as a treat for children in those times of hardship, however, they are probably more commonly associated with major royal events, such as jubilees and weddings.
In the 1950s, there were two major national street parties, with one in 1951, known as the Festival of Britain, and the second in 1953, to celebrate the coronation of Queen Elizabeth II.
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| 05. 1950s street party |
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| 06. 1950s street party |
Fashion & Subculture
Family Households
In the family household of the 1950s, the man was the main provider for his family, going to work, while the wife would look after the child, or children, and do housework. Children would often leave school at an earlier age than todays society, with many starting work at the age of 14.
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| 07. 1950s women's fashion |
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| 08. Sketch of 1950s style family |
Teddy Boys
Predominantly young men, the Teddy Boy style was created by mixing the more upper-class 'Edwardian' jackets with the American styling and the cowboy's 'maverick' tie. This adoption of the 'Edwardian' jacket was not well received by the British upper-classes, who began to view them as a threat to the status quo. However, the intensified further with the introduction of Rock 'N' Roll. Throughout the '50s, any kid who got into trouble - whatever his style - would be classified as a 'Ted'.
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| 09. 1950s Teddy boys |
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| 10. Sketch of 1950s Teddy boy |
Bikers/Greasers
1950s bikers were considered a rowdy, rebellious group who challenged the new post-war American ideals that appeared. It is stated that many of the individuals were returning veterans from World War II, who found it difficult to adapt from the high adrenaline experience of war into the passive society they returned to, so instead of war to achieve the high levels of adrenaline, they turned to motorcycles.
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| 11. 1950s greasers/bikers |
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| 12. Sketch of 1950s biker |
Wedding Outfits
The 1950s saw the introduction of the sweetheart neckline, due to Elizabeth Taylor in the film Father of the Bride. Many gowns were designed to be work as strapless evening gowns, for after the wedding, and with a bolero jacket during. Gloves were a standard fashion, but could be fingerless, and usually made of tulle, lace or satin.
The 1950s was a decade defined by decorum, elegance and etiquette.
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| 13. 1950s style wedding dress |
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| 14. Sketch of 1950s bride |
Bibliography
Durando, Furio (1997). Greece: Splendours of an Ancient Civilization. London, Thames & Hudson.
