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    An Introduction to Theatrical Make-Up
    An Introduction to Theatrical Make-Up
    An Introduction to Theatrical Make-Up
    Ebook52 pages40 minutes

    An Introduction to Theatrical Make-Up

    By Wayne Campbell

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    About this ebook

    Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateMar 6, 2013
    ISBN9781444659610
    An Introduction to Theatrical Make-Up

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      Book preview

      An Introduction to Theatrical Make-Up - Wayne Campbell

      Hair

      USES OF MAKE-UP

      THE question of make-up is perplexing and baffling for amateurs: when it should be used, what materials to use, how much to use. To answer these various questions it is necessary that we should first understand the objective sought in the use of make-up.

      These objectives might be named in this order:

      a. To enhance the beauty and improve the personal appearance of the user.

      b. To emphasize and intensify the facial expression—to make it carry to a distance, so that the play of emotion or meaning on the face of the actor may be read with greater certainty by the audience.

      c. To change the appearance of the person, to make him or her more closely resemble some particular character, in age, nationality or other characteristic.

      The means of reaching these objectives is conditioned by:

      a. The age, sex and personal appearance of the actor; the condition of his skin, size of his features.

      b. Size of the auditorium, size of the stage, quantity and kind of light used, color of the light, general nature of the play.

      The use of cosmetics among girls and women has become so widespread and general that little need be said along this line. Nearly every girl of high school age and upwards has discovered by experimentation what make-up—number of powder, number of rouge, and eyebrow pencil—most enhances her own appearance, unless, indeed, she slavishly copies some prevailing mode and uses the particular kind of rouge, and applies it in the manner, that seems to be popular in her set.

      Many girls have discovered, to their chagrin, that the make-up applied in the darkened dressing room or boudoir under the soft glow of lights, looks garish or ghastly when seen under broad daylight. Lips that appear dainty and kissable in the mirror, on the street have become a bloody gash. These differences, due to the different lights under which make-up is viewed, help us to understand some of the problems of stage make-up. In considering this first objective, so far as the stage is concerned, that a character is to be made as attractive as possible, we have these sub-objectives:

      To cover up a faulty or blotched complexion with one of the proper tint and texture, to counteract the paleness resulting from the intense stage lights by a little heavier application of rouge, to replace the eyebrows that have been plucked away and to match up the complexion of the face with the tint of neck, arms, etc.

      In the case of boys or men, the less make-up used for this purpose, the better. No one likes to see a pretty boy or man. We like to see them handsome—virile looking, healthy complexioned—but not with the pink and white complexion of a girl. If a boy or man has led an indoor life and consequently has little color, it is sometimes necessary to use a dark powder or grease paint to give him an outdoor appearance. If, on the other hand, he is an outdoor boy and must play the opposite kind of character, it may be necessary to lighten his complexion.

      Taking up these sub-objectives in their order:

      GIRLS. To cover a faulty or blotched complexion, it is seldom necessary to do more than apply the proper tint of powder, having first thoroughly cleansed the face with a good grease cream or olive oil. Apply the cold cream or oil with the fingers, covering the neck and throat

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