In this paper, we discuss the requirements and critical challenges for creating and staging interactive costumes in the theatre. Different to other types of performance, theatre costumes are secondary to acting. Our investigations are based on two practice-based case studies: a self-directed design research within a student project, and a collaboration with a local theatre house, where interactive costume elements were developed in a real-life setting. These reveal requirements and challenges for the design process as well as the effective staging of interactive costumes, the biggest challenge being how to integrate these into existing structures of traditional theatre houses, and requirements for the costumes themselves. Because interactive costumes integrate technological features and traditional analogue crafts, they require interdisciplinary collaboration and transcend established boundaries between departments in theatre houses, challenging established work processes and structures.

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In the 1920s, Oskar Schlemmer, artist in the Bauhaus movement, created the Triadic Ballet costumes. These restrict movement of dancers, creating new expressions. Inspired by this, we designed an interactive wire costume. It restricts lower body movements, and emphasizes arm movements spurring LED-light 'sparks' and 'waves' wired in a tutu-like costume. The Wire Costume was introduced to a dancer who found that an unusual bond emerged between her and the costume. We discuss how sensory alteration (sight, kinesthetic awareness and proprioception) and bodily training to adjust to the new soma, can result in novel, evocative forms of expression. The interactive costume can foster a certain mood, introduce feelings, and even embody a whole character -only revealed once worn and danced. We describe a design exploration combining cultural and historical research, interviews with experts and material explorations that culminated in a novel prototype.

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