MAKEUP AS A SIGNIFICANT TOOL FOR THE THEATRE PERFORMER

Abstract

Dating as far back as ancient Greece, makeup was one of the arts of the theatre absolutely fundamental to the origins of drama. The earliest performers of the dithyramb, held in honour of Dionysus, made themselves up, probably by daubing their faces with blood or the dregs of wine when preparing for the performances of their holy rites (Cohen, 2000). Subsequently, these original attempts at makeup were the sources of facial decorations which form the universal symbols of theatre today. Yet ironically, makeup tends to be the last aspect of design technology to be considered in the theatre. Many directors pay little or no attention to the creative role of this element of theatre. Indeed, it is the only major design element whose planning and execution is quite often left entirely to the actor's discretion or at the mercy of amateurs. This paper seeks to guide teachers, students, professionals and non-professional theatre practitioners to a better understanding of the principles and roles of makeup in a theatrical production. It also highlights its importance to the performer and to the entire production.