ON DESIGNING THE CHARACTER

Let us suppose that you have read the play, you know what the plot is about, and the part has been given to you to study. Perhaps the author describes the peculiarities of the character, or it is traditional to make up for the part in a given way. Failing help in either of these directions you must rely upon your own imagination.

Read the part through, trying to think of the character as distinct from yourself. Pretend that you are listening to the words spoken by another. Decide what kind of a man would say such words and behave in such a manner. What are his moral and mental characteristics?

Visualise him, think of him not as an element of the play but as one who on his journey through life has been accidentally involved in the dramatic conflict. Get acquainted with him, try to know something of his past life, for time and experience will have left their marks upon him.

This fiction once designed, the next task is to see how it will fit.

Study yourself with a view to finding out what traits you have in common with the character. Note the qualities that must be accentuated and those that must be subdued.

Alter the character of your face by changing the expression of your mouth and eyes.

Always remember that as little paint should be used as possible, for though it is easy to disguise by a thick mask of pigment, the heavier the make-up the more difficult it is to convey sensitive emotional variations by the changing expression of the face.

If it is possible to arrange your own hair in a way suitable to the character so much the better, for though it may in no way seem more real than a wig it will prove infinitely more comfortable.

I remember before M. de Max played l'Aiglon, he stayed in the house for weeks while his dark locks were slowly dyed a brilliant red. On the night following the production he told me disgustedly that people had criticised his wig.

When you look as much like the part as you possibly can without the aid of artificial disguise, begin to apply nose paste, paint and powder. Obliterate one characteristic and accentuate another. Alter the shape of your nose, paint your eyebrows out and redraw them, altering their form. Change the colour of the skin. Cover eyelashes and lips with paint and note the difference. Put shadows round the eyes, sinister lines running from the nostrils. Wrinkle your face, and where the lines would naturally come apply the paint. Add a roughly shaped beard or moustache of crepe hair if the character demands it.

Stand at a distance from the mirror, study the result. This work is similar to that of the painter when he makes preliminary sketches, it helps to get one's ideas into a concrete form.

It should be done over and over again until the character is perfectly developed.

If a wig is required, discuss it with the best wig-maker that you can find. Should you be able to draw supply him with a rough sketch. Failing this you will probably be able to find an illustration or an engraving which, though it may not be exactly what you want, will help you to explain your idea.

I have made a large collection of different engravings of interesting types, and the work of the old caricaturists I have found very suggestive.

Visit the wig-maker two or three times before the wig is completed, it will then be made under your direct supervision and will probably be more successful in every way.

Remember that the character of a face depends on three elemental qualities, form, colour and expression. The first two are almost constant, the third is susceptible to perpetual change.

The grave, the gay, the ascetic, the debauched, the Æsthetic, the philistine, the spiritual and the material, each will have his distinguishing colour and form. The expression will depend much on the various moods portrayed during the action of the play.

Make the characterisation as definite as possible, for the size of the stage demands a certain breadth of treatment. Do not forget the distant patron of the pit and gallery, for though his monetary contribution is humble he atones for this by the warmth of his enthusiasm.

If the result of these preliminary efforts seem discouraging, remember a good wig and suitable costume will help materially.