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The Art of Theatrical Make-up

Chapter 28: MACBETH
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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.

THE THREE WITCHES IN "MACBETH"

These sub-human creatures, weird, mysterious women that seem akin to cats and bats and toads.

The first was made up by binding the nose down as is described in the instruction for Othello.

The groundwork was of No. 2-1/2 with a great deal of yellow and a little brown. The cheeks were deeply shadowed, as were also the cavities of the eyes. The lines running from the nostrils to the corners of the mouth were strongly defined. The form of the lips was completely obliterated. Strong shadows were painted round the mouth.

The illustration shows how definitely yellow and white were used for high lights.

For the second witch I carried my nose upward by putting a silk thread under it, which I attached to the wig. Similar groundwork was used, and the same type of shadow was placed on the cheeks and round the eyes. The teeth were partly painted out with cobblers' wax. Finely cut crepe hair was dusted on the chin.

The third witch had a nut-cracker type of nose and chin built of nose-paste. The cheeks were built out as in the case of Don Quixote.

Moles and warts were freely scattered about the lower part of the face, some of them being armed with bristles.

The colour for the groundwork and shadows was similar to that used for the first and second witches.

As I have been so frequently asked how I managed to get three photographs of myself in one print, I may explain that separate negatives were taken, which were subsequently combined in a composite print.

MACBETH

1st Witch. Thrice the brinded cat hath mew'd.

2nd Witch. Thrice and once the hedge-pig whin'd.

3rd Witch. Harpier cries:—'Tis time, 'tis time.

1st Witch. Round about the cauldron go;
In the poison'd entrails throw.
Toad, that under cold stone,
Days and nights hast thirty-one
Swelter'd venom sleeping got,
Boil thou first i' the charmed pot!

All. Double, double toil and trouble;
Fire, burn; and, cauldron, bubble.

2nd Witch. Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog,
Adder's fork, and blind-worm's sting,
Lizard's leg, and owlet's wing,
For a charm of powerful trouble,
Like a hell-broth, boil and bubble.

All. Double, double toil and trouble;
Fire, burn; and, cauldron, bubble.

2nd Witch. Cool it with a baboon's blood,
Then the charm is firm and good.