An article by Miriam Razza
One of the most recurring moments in the life of an artist is undoubtedly the long series of preparations put in place immediately before going on stage, which over time become almost a ritual. Among these moments, there are make-up and wigs, which sometimes are considered marginal: but what’s their real potential?
We often tend to associate make-up with the female universe and the concept of beautification and self-care; it’s thought that it only serves to mitigate small aesthetic imperfections, correct or enhance certain facial features with powders and lipsticks. However, make-up, if wisely studied, has the power to connote a character by working not only on his/her face but helping the artists to fully identify with the part to be interpreted. Precisely in this regard, theater teaches us that transformation is not always synonymous with embellishment: the use of chiaroscuro and the theory of color can help us make a face more harmonious by balancing its volumes and correcting its discolorations, but we can use the same techniques to twist a nose, age a face or accentuate an eye. A perfect example of this is La Traviata and the transformation of Violetta, whose fresh and rosy complexion of the opening scenes soon gives way to a tired face marked by illness.
Read the entire article here, in the 8th issue of OPERA Charm Magazine.0