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"Make-Up Artistry" for S/NVQ Level 3 Beauty Therapy: Working in the Theatre

"Make-Up Artistry" for S/NVQ Level 3 Beauty Therapy: Working in the Theatre

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See what you can do with "Make-Up Artistry" for S/NVQ Level 3 Beauty Therapy, approved by the Federation for Holistic Therapists.
See what you can do with "Make-Up Artistry" for S/NVQ Level 3 Beauty Therapy, approved by the Federation for Holistic Therapists.

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Published by: Pearson Schools and FE Colleges on Nov 04, 2011
Copyright:Attribution Non-commercial

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05/30/2014

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Position and roleRequired knowledge and skills Responsibilities
 Wig / make-up designer
– thedesigner’s role is to use the dramaticimpact of make-up and wigs orhairstyles to enhance the portrayalof characters to the audience withina production
*
Knowledge of contemporary andperiod make-up and hairstyling
*
Research skills
*
Understanding of the process ofcharacterisation (using visualappearance to portray character)
*
An artistic eye with an ability tosketch ideas
*
Ability to work as part of a team
*
Ability to inspire other teammembers and communicate yourideas through discussion andinstruction
*
Ability to meet deadlines andschedules
*
Liaise with director and othermembers of the creative team
*
Attend preliminary design meetings
*
Research characters and designs
*
Provide working designs that meetthe production brief
*
Translate verbal and intellectualideas into visual sketches anddesigns
*
Liaise with wig master or mistressregarding costing and planning themake-up and hair processes
*
Attend occasional rehearsals tomake ongoing adjustments todesigns
 Wig master or mistress
– the wigmaster or mistress’ role is to ensure thewig / make-up designs are implementedat production level and the departmentruns smoothly on a day-to-day basis
*
Excellent application skills with anability to translate design sketchesinto styled postiche and appliedmake-up
*
Knowledge of distance and lightingon make-up effects
*
Ability to manage a team of wigdressers or make-up artists andinspire other team members toproduce their best work
*
Excellent communication skills andan ability to instruct cast membersin the application of make-up
*
Ability to meet deadlines andschedules
*
Excellent organisational skills
*
Knowledge of safe workingpractices
*
Liaise with wig and make-updesigner, lighting and set designerand director
*
Hire and manage wig and make-upteam as required
*
Check and order stock fromsuppliers
*
Carry out wig fittings
*
Attend rehearsals – liaise withdesigner with regard to wig andmake-up design adjustments
*
Shop for accessories, etc. asrequired
*
Negotiate and produce schedule ofcall times, wig and make-upchanges and team responsibilities
*
Negotiate and work withinbudgets and timescales
Working in the theatre: roles and responsibilities
 
Position and roleRequired knowledge and skills Responsibilities
*
Check make-up and wigs at fulldress rehearsal – make finaladjustments to application
*
Often ‘look after’ leading performer
*
Ensure wigs are cleaned andstored or returned
*
Implement department code ofconduct or guidelines
 Wig dresser / make-up artist
– therole of the wig dresser / make-up artistis to undertake responsibilities asdelegated by the wig master or mistress
*
Excellent technical and applicationskills
*
Ability to perform tasks efficiently,cost effectively and withinestablished timescales
*
Ability to work as part of a team
*
Ability to follow instructions fromwig master or mistress
*
Ability to communicate with castand crew members
*
Prepare postiche for application
*
Dress postiche for application
*
Apply postiche on cast members
*
Remove postiche
*
Maintain postiche
*
Apply and remove make-up asrequired
*
Liaise with wig master or mistress
*
Follow department’s code ofconduct and work guidelines
 
Interview with Joanne Price (make-up artist and wig mistress working in theatre)
What qualifications and training do you have?
I completed an NVQ Level 2 in Beauty Therapyat my local further education college but realisedthat it was make-up that I really wanted topursue as a career, so the following year Ienrolled on a one-year full-time fashion,theatrical and media make-up programme. Theprogramme covered all areas of make-up artistryand at the end of the year, having successfullycompleted all aspects of the course, I left with acertificate in wigmaking, face and body paintingand a diploma in make-up artistry.Whilst at college I was able to participate invarious work experience opportunities, the mostuseful being at the RNCM annual opera. Thisgave me the invaluable experience of workingwithin a realistic environment (something that aclassroom setting cannot always provide). Myspeed of working improved to commercialstandards and I learnt to think on my feet. Ialways felt that hairstyling was my weak areawhilst at college, but working with the wigs onthe opera really boosted my confidence.
What have you worked on since leaving college?
Almost straight after leaving college, one of mylecturers got me some paid work on the openingceremony of the Commonwealth Games, whichwas fantastic experience and great fun. Afterdabbling in the fashion scene for a short time, Idecided to apply to local theatre and TVcompanies for work. Luckily the Royal ExchangeTheatre in Manchester were looking for peopleand, armed with a good reference from college, Igot the job and have been working for them eversince. Recent credits include
Cold Meat Party
with Emma Lowndes,
 Hobsons Choice
with JohnThomson and Trevor Peacock,
The Playboy of theWestern World
with Michael Colgan,
Sherlock Holmes in Trouble
with Lloyd Hutchinson and
Twelfth Night 
with Sven Pannell.
What has been your greatest challenge?
Finger waving a complete wig! I always foundfinger waving tricky at college, and had to spendsome time practising to achieve a final effectsuitable for a professional production. Needlessto say I got there and now find finger wavinga doddle!
What has been a highlight so far?
I really enjoyed making up Lloyd Hutchinsonas a dame in
Sherlock Holmes in Trouble
. As amake-up artist in theatre, I do not get to dounusual make-ups that often as the emphasis ison the wigs and hair. Most performers will dotheir own make-up unless special effects arecalled for. We do quite a bit of blood and goreeffects though.
What personal skills are required for workingin theatre?
Patience and plenty of initiative as situations canchange quickly in a live environment. For example,if a performer calls in sick at the last moment andthe cover (stand-in) is required to perform, the

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