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Informationen zum Autor Helen Casey worked at the National Theatre for 10 years on a wide range of over 50 productions there, most notably as key creature make-up artist for Danny Boyle's production of Frankenstein . She is actively involved in the education and apprenticeship programmes and has also authored several publications while at the NT, including Fantastic Faces , a make-up book for children (2019). Klappentext Written by the former Deputy Head of Make-Up and Wigs at the National Theatre, this book opens up a process that very few people will otherwise be privy to, giving perspectives on the preparation before a production and responsibilities during, as well as looking more widely at training, career opportunities and success. It does so through drawing upon some of the most adventurous and challenging productions mounted at the National Theatre and elsewhere. From designing and fitting wigs to managing lighting-fast quick changes, hair, wigs and make-up people are a major part of the creation of any theatrical production. Yet their role and contribution are much less discussed and written about than elements such as writing, directing and acting, despite being critical to defining and executing the aesthetic of a production. Their involvement requires a great deal of research and creative thinking; collaboration with other members of the creative team; specific knowledge of wig-making and measuring, make-up design and application; and managing all of these elements during the course of the evening. Often required to cover all three elements (and sometimes more), the designer looking after hair, wigs and make-up needs to bring to the production multiple areas of expertise and is a core part of the creative team. Vorwort A key volumein the National Theatre Backstage series, this book on hair, wigs and make-up for the stage is ideal for anyone keen to understand this side of the creative process. Zusammenfassung Written by the former Deputy Head of Make-Up and Wigs at the National Theatre, this book opens up a process that very few people will otherwise be privy to, giving perspectives on the preparation before a production and responsibilities during, as well as looking more widely at training, career opportunities and success. It does so through drawing upon some of the most adventurous and challenging productions mounted at the National Theatre and elsewhere. From designing and fitting wigs to managing lighting-fast quick changes, hair, wigs and make-up people are a major part of the creation of any theatrical production. Yet their role and contribution are much less discussed and written about than elements such as writing, directing and acting, despite being critical to defining and executing the aesthetic of a production. Their involvement requires a great deal of research and creative thinking; collaboration with other members of the creative team; specific knowledge of wig-making and measuring, make-up design and application; and managing all of these elements during the course of the evening. Often required to cover all three elements (and sometimes more), the designer looking after hair, wigs and make-up needs to bring to the production multiple areas of expertise and is a core part of the creative team. Inhaltsverzeichnis Introduction Chapter 1: Design and Research Chapter 2: Making a Wig Chapter 3: Wig/Hairdressing Chapter 4: Make Up Chapter 5: Prosthetic and Stage Effects Chapter 6: Staging Chapter 7: Kit and Employability Conclusion ...
