Eye-shadow, false lashes and blush are standard elements in a dancer’s pre-performance routine. There are some characters, however, that invite extreme applications of make-up to aid their transition from rehearsals to the stage.
Take for example Bronze Idol (above) in La Bayadère in which the male dancer is covered in gold make-up to resemble a statue reminiscent of the Hindu God, Shiva. One can only imagine the amount of cotton buds required to remove said make-up! Likewise, the evil sorcerer von Rothbart from the traditional Swan Lake uses make-up to accentuate sharp cheekbones and menacing eyes.
In classics like Giselle and Swan Lake, Queen of the Wilis and the swans must appear pale and ethereal to accurately execute their characters. In an article published by The Daily Telegraph, Derek Deane, creative director of the English National Ballet from 1993 to 2001, was appalled when dancers returned from their summer break in every shade of pink, red and brown. He ordered his dancers to stay indoors and stop sunbathing, but ultimately stage make-up such as ‘pancake’ would have covered and returned dancers to paler skin tones.
In The Australian Ballet’s recent performance of The Sleeping Beauty, make-up was one of many costuming techniques used to bring Carabosse, and her evil attendants from the ‘winter world’, to life. Their vindictive natures were emphasised with dark features, and were further enhanced by a chilling canvas of white faces.
Marissa Shirbin was a dancer, is now a romancer and an editorial assistant at Right Angle Publishing
That is just incredible, he actually looks like a bronze statue.
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