Painting The Face - The Primary Mask
< Best Blushes" ="display:block;text-align:center;clear:both">Painting the face has a number of purposes, chief amongst these being beautification (as in cosmetics), transformation (as in in the present day's face painting, also conventional clowns), and preparation for conflict (from the earliest historical past of mankind). Using cosmetics can be traced back to the ancient Assyrians (2000 years BC and extra), the Egyptians (Cleopatra being a famous practitioner), and the Romans (the courtroom of Nero particularly requiring make up for each men and women).
Amongst the achievements of the European crusaders was the importing of cosmetics from japanese harems again into their dwelling countries, since when their use has been continuous in the western world - although they have not all the time been thought of respectable!
On stage a complete vary of supplies had been employed to paint the face before grease-paint got here into use - chalk for a white face (e.g. a ghost), umber to counsel a tanned or weather-beaten face, white lead, gold paint, antimony, kohl, rouge, cochineal, cuttle-fish - and an entire additional range of products equally derived from minerals, plants, animals, and insects.
https://vanmiumakeup.com/guide-to-proper-blush-application/ on stage (though not it appears the Elizabethan boy actor, for whom blushing youth appears to have sufficed for the expression of femininity) may "color their faces with sure oils, liquors, unguents and waters made to that end" (Philip Stubbes 1583 - quoted in "the Oxford Companion to the Theatre").
It is attention-grabbing only for a moment to contemplate the primary functions of stage makeup by way of the ages. In my theatrical lifetime (my first job, as an ASM in a UK Rep was in 1963) makeup has had three purposes, varying as priorities based on circumstances: firstly to highlight key features of the face for an audience seated too far away to appreciate the subtleties properly, secondly to provide facial modeling when the lighting is likely to be too bright and too frontal and tending to flatten the features, and thirdly the long established objective of disguise.
Initially stage makeup was all about disguise. It still is to a level, particularly within the decrease financed finish of this theatrical spectrum. The better financed a production is, the more possible an actor could be employed particularly for a role because he most clearly "is" the character. In the good outdated days of Rep nevertheless one company of actors would play a wide range of characters who usually had very little in common with themselves, and that's when makeup as disguise comes into its personal.
Trying back to the historical start line for makeup, the ritual dances of primitive tribes, we are able to deduce disguise - as animals, as spirits, as devils.
Beautifying the face on stage came later, in all probability post Elizabethan theatre, and probably with a view to enhancing the beauty of the actress taking part in the role. Perfect Glow" may effectively have been adopted as a practice by altering the skin tone of young men required to painting previous males.
The trouble with beautification of the feminine face is that the more of it that was needed, the much less ready the actress became to express emotion on her face. There are numerous very enthusiastic responses to the occasional actress who left the paint off her face and was, consequently, in a position to produce mobility of expression to her performing, and with it a more satisfying portrayal of humanity.
In any evaluation of course, disguise and beautification are both about presenting in public a version of oneself that's not the true image. There are all kinds of causes for doing this, such as vanity, dramatic necessity, invoking the assistance of spirits and/or ancestors, or just escaping the long arm of the regulation.