Exploration around the makeup department - and all of London just for good measure

This morning me and my classmate set off for the National theatre to have a look around the makeup department, allowing me to compare their approach to makeup and costume for theatre with those produced for tv and film. Initially, I took us to the theatre on Drury lane where the production of War Horse is showing, confusing the buildings as this used to show at the National theatre. After chatting with a performer hanging around in the green room, we realised my mistake and headed for the theatre along the Southbank. Once in the right place, we collected a pass from the stage door and met Joyce, head of makeup. Talking to her was a really insightful experience as she had been working in this sector from aged 17, she is now 60. Her contacts into the theatre world were made through her mother, encouraging her to take her hairdressing experience to the Royal Opera house.
The process of realising a piece of makeup is initially designed in the costume department. It is then up to Joyce to interpret their idea and tell them if it is possible within their budget to create. She explained how the people she works with are constantly exploring new techniques and processes to achieve the final look, considering how the performer will be lit and whether they are comfortable in the makeup is crucial here. She then showed us synthetic and real hair wigs along with a latex mask made to create a scarred face. All the detail into the mask was lost when lit on stage, meaning that a lot of makeup had to be applied on top to show the crevices in the surface of the rubber.
A typical working day for them starts at nine and can end at half ten in the evening. This is due to them currently providing makeup for three west end shows, including matinees and evening performances. Wigs have to be curled and set and actors have to be done up twice a day. In between, they are creating pieces or repairing worn ones. The "gore" section at the back of the studio was particularly interesting as it contained many mock-ups and masks for them to see if it would work and was necessary for a storey line. Costume changes are often extremely quick so this effects how elaborate a piece can be and how complex it is to apply. Overall, a lot of commitment is required from the people who work here, some have experience at the BBC as with Artem and one girl came straight from uni to undertake a paid internship, if the work continues to be consistent, she will become a full-time team member.

National Theatre - planning tomorrow's visit

Through their website, I found many helpful links into the company history and running of all its different departments. For my bibliography, the site is: http://www.nationaltheatre.org/ .uk in the Discover section.

The costume design for theatre video documentaries provide a brief but useful insight into what I should consider when presenting my character in costume. The department consists of tailors, dressers, maintenance, dyers and a costume prop maker. The designs for much of the finished costumes are provided by freelancers who know the director and may have previously worked for the in-house people at the National theatre. These designers often request drawings of the set their work will be placed into context. They will then research the period and similar style clothing that fits the brief to include in a mood board. Less designers present drawn images as those who produce computer drawn designs and ideas that can be further developed. It is then up to the in-house team to plan the work-load across the department and provide feedback to the designer. The designer featured in the video insists that the finished costume should be a fully finished garment that looks worn and suited to the character.