f Such stuff as dreams are made on: Exploring costume design’s semiotic and scenographic potential in making meaning for performance

There has been an abundance of literature on the role of set and lighting design within scenography. However, the presence of costume within the scenographic whole has been poorly considered. In this article, I will analyse costume’s semiotic and scenographic potential by comparing two important productions of The Tempest. I will juxtapose the signification of Ariel in Giorgio Strehler’s Tempest at the Piccolo Teatro, Milan (1978) (set and costume design by Luciano Damiani), with Robert Lepage’s production of Thomas Adès’ The Tempest for the Metropolitan Opera in collaboration with Ex Machina (2012) (set design by Jasmine Catadul, and costume, wig and make-up design by Kym Barrett). I will examine why costume design has been less examined than other areas within scenography, and by comparing these two productions, I will show evidence of the different and significant ways that costume can interrupt or enhance meaning within performance.