That's important because it means our mascot costumes can be done in YOUR color choice at no extra charge. Facemakers, Inc., is the manufacturer of these rhino mascot costumes not merely a supermarketer of costumes. Keep in mind, we can provide many different colors and styles of fur fabrics for your mascot costume. He wears a safari outfit complete with pith helmet. This rhino mascot comes with rhino 3-finger and thumb glove style paws and the footwear has been upgraded to large feet with rubber-soled sandals for indoor/outdoor usage. The rhino mascot head is hand-crafted, hard-molded for durability, and then covered in fur fabric with hand detailing. I’ve seen her wear her large dinosaur, and there’s tremendous opportunities for her to collaborate with costume designers in the theatre or in other businesses.#604 RHINO ON SAFARI mascot costume is shaped and padded with a (removable) polyfoam shaper, which gives this Rhino its rotund shape, and which has it's own washable velcro-removable cover. It’s a matter of materials and how they become kinetic. “Lisa’s process has a lot of applications to the theatre. Hoelscher says Glover’s design has potential beyond velociraptors. The cost is in developing the pattern and perfecting the prototype, she says, which is essential as each actor needs several masks to accommodate for damage during rehearsals and performances. The computerized CAD program and the laser cutter create the shapes in cardboard, then it takes two hours to fold, manipulate and glue together. Several revisions were needed before the pair found the right prototype. As Glover’s dinosaur entrepreneurial efforts were catching the attention of national media, Hoelscher spoke with her about collaborating on a rhinoceros mask. Glover, who received her bachelor’s degree in architecture, recently launched an online crowd-funding effort, a 3-D paper velociraptor built by folding a high-quality paper board. Slocum suggested that Hoelscher speak with Lisa Glover ’13 ’14G, a student in Lehigh’s technical entrepreneurship master’s program. She consulted with Brian Slocum, manager of the design shop in Lehigh’s Wilbur Powerhouse, as to how best to fabricate molds. Hoelscher wanted a mask that would aid the actors in their transformations and add shock value to the show. I wanted something real that would make a connection for the audience between themselves and the rhinoceroses.” “Over the course of the play, rhinoceros heads start appearing around Bérenger and they get increasingly elaborate until they are incredibly ornate. “I was trying to figure out what to do with these rhinoceros masks, because I wanted there to be a physical, tangible way the actor turns into a rhinoceros,” she says. As more people become rhinoceroses, becoming part of the crowd becomes hard to resist. At first they believe it is a disease, but it increasingly becomes clear that it is a choice people are making. Throughout the course of the play, more and more characters turn into rhinoceroses until the end of the play when only one character is left not transformed. Some were creative, almost a found object-type rhinoceros, while others were more realistic in the approach. She researched previous productions that had approached the idea of the rhinoceros in different ways. Hoelscher costumed 15 characters and wanted rhinoceros masks because she believed that a contemporary audience would want real and tangible three-dimensional experiences. They chase after ways to distinguish themselves, the ultimate conformation and unifying factor. The rhinoceros suggests competition between people characters refuse to be bettered even if it means becoming a rhinoceros. Ultimately, the only human who does not succumb to this mass metamorphosis is the central character, Bérenger. In Rhinoceros, inhabitants of a small, provincial French town turn into rhinoceroses over the course of three acts. The Philadelphia-based IRC specializes in absurdism, where the main theme is the inadequacy of language to communicate. Designer Erica Hoelscher teamed recently with the Idiopathic Ridiculopathy Consortium (IRC) theatre to develop costumes and scenery for a production of Eugene Ionesco’s Rhinoceros.
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