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The Art of Theatrical Make-up

Chapter 13: CHAPTER VIII
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About This Book

This work explores the techniques and principles of theatrical make-up, drawing from the author's extensive experience in the performing arts. It reflects on the evolution of the author's own photographic studies, which document various characters portrayed on stage. The text combines insights from psychology, physiognomy, and character portrayal, offering a unique perspective on the art of make-up in theater. It also addresses the requests from fellow actors for guidance in their make-up applications, indicating a broader interest in the subject within the acting community. The author's observations of renowned figures in theater further enrich the content, providing practical advice and artistic insights.

CHAPTER VIII

ON REMOVING THE MAKE-UP

At the conclusion of the play you retire to your dressing-room, flushed, I hope, with success. To resume your real self is a matter of little difficulty, and yet it may be helpful to have a method suggested.

Begin by removing parts of the clothing, as it unquestionably would be soiled in the dirty process of removing the make-up.

First take off the wig, next the moustache, then the beard; carefully remove the false nose, or any other modelling in relief, for if they are preserved with care they may be used repeatedly. Next, with a small quantity of oil, or any other grease that may be preferred, soften the grease-paint slightly and remove it with a towel. This first cleansing will only remove part of the colour, in fact, the treatment with oil must be repeated two or three times before every trace of paint has disappeared. When this has been achieved, wash thoroughly with warm water and pure Castile soap; dry the face, taking care that every vestige of paint has been removed.

If the weather is cold, a little cold cream rubbed into the skin, which is then slightly powdered, will protect it.