Aesthetics means the study of beauty of an object and ‘its’ education or science. In the West many theories have been formed from the days of Aristotle. One of the aesthetic theories is to find beauty in Real Life, Literature, Poetry, Painting, Sculpture and Drama, etc.
Men everywhere recognize beauty in some form, but our experience and understanding are enriched and broadened as we proceed with the study of aesthetics and the factors that underlie the aesthetic experience. Since aesthetic experience pertains to the perceptual level of human experience, one has to make clear the distinction among a sensation, a percept and a concept. As a result of a stimulus we receive a sensation. Through one of our organs we may see, hear, touch, smell or taste something. When these sensory impulses are organized into units or wholes, we recognize objects such as stones, trees, books or people.
Aesthetic experience that is the result of perceptual experience is most frequently visual / auditory. But it is not limited to those areas. It may be related to our sense of touch, taste, or smell. Aesthetic experience includes any pleasurable absorption in these perceptual experiences insofar as it arises from a disinterested contemplation of phenomena, whether natural or man-made.
The aesthetic “emotion” may be aroused by artistic productions, in which the artist has attempted to evolve an aesthetic response. The human head gives three characteristics of the aesthetic mood or aesthetic attitude. They are:
1. The aspect of detachment, in which a person during the experience is released from the practical concerns of every day living.
2. The true aesthetic attitude is disinterested and non-possessive. To appreciate without the itch to acquire, to love without longing to possess, to contemplate with joy and satisfaction but without thought of social advantage, economic gain, or practical exploitation. This is to achieve the disinterested attitude that is fundamental to the aesthetic mood.
3. The aesthetic attitude is impersonal and thus involves the temporary elimination of certain expressions of the personality. One is absorbed by the certain expression of personality.
The aesthetic object absorbs one; in a sense one gets outside himself / herself transcends his / her narrow interests and acquires a new perspective.
STAGE MAKE UP AND AESTHETICS
Stage make-up means, decorating and wearing ornaments for a particular scene, for a particular stage. A character is drowning differently on a stage by his make up of the way in which he is wearing costume, makeup, and ornaments. The important thing in a make up is to show the special characteristics of a character to the audience. The audience should be able to recognize the importance of the character just by visualizing the make up worn by the characters on stage. There are many works involved doing make up for an actor
STYLE
In general, style is a particular way to do something, more specifically, an art; style comprises those distinctive characteristics that enable the observer to link an art work with other works which can be grouped for study. There are two kinds of styles.Those characteristics linking works within a time, period, culture, or school. That is more or less a time - place - artist’s classification of individual creative artist’s work. It has the general aspects of form, subject matter and content.
STYLE OF ART:
The style of art reflects the period of the Art form; one can learn the political, economic, social values of the period through art forms. This kind of art reflects the time and space given to the individual artist and it depends on / is mingled with his / her life. The art style is made out of an artist’s habit and culture, it leads to the artistic expression of the artwork and also this persists as separate. Art forms are always a part of human life where people have continuously been expressing their choice and interests. Now days this interest is seen in costume, make up and ornaments.
In theatre a possible basis for any consideration of theatrical style is the extent and nature of its departure from realism. The mechanisms of performance, particularly the need for an actor to project a character rather than simply feel it, make true realism almost impossible to achieve on a stage.
Since acting style have these roots in realism it is the visual elements that must make the boldest statements in a production. The costumes worn by the actors need to be based, to some considerable extent, on real clothes. The departure of the scenic environment from the reality of nature can be almost total. But since actors are at the heart of any theatrical performance, we need to consider some basic aspects of acting style before the visual contribution.
Theatre styles are visualized in scenes for the audience. The director or a team of creative people use theatre styles which transforms many aspects and elements to reach the spectators. They are
1. Visual Style
2. Acting Style
3. Costume Style
4. Scenic Style
5. Lighting Style
6. Make up Style
Elements of theatre consist of acting, visuals, costume, makeup, lighting and set design and these elements put together is dramatic style or production style. In theatre selecting a particular style depends upon the designers of the production team. It started in realism, and the above elements are depended upon each other and form a new production style. Stage make up is one of the important elements in production style.
MAKE UP AND STYLE
Make up is a vital element in creating the total appearance of the actor. To a great extent the make up design gives the audience its primary clue to the age, health and vitality of the character. Although the overall appearance of the actor is the costume designer’s domain, a make up designer; under the artistic supervision of the costume designer, is often responsible for the design and execution of the make up.
Stage make up enhances the illusion that the actor has become the character. In almost every production some of the actors for one reason or other do not facially resemble the characters they are playing. Make up can help in solving this challenge by providing actors with the means to change their appearance through the skillful application of various techniques of make up. Young faces can be made to look older, older faces younger, pretty faces less attractive, blemished skin clear and rather plain faces ravishingly attractive. A great deal of the communication process that transfers information from the actor to the audience takes place visually.
To fully understand what the actors are saying (actually what they are meaning) the audience must be able to read their facial expressions. In medium-size and large theatres many members of the audience are seated quite a distance from the stage. Therefore, a primary function of make up is to enhance or exaggerate the actor’s features.
Make up designs usually begin with a sketch. Using a photograph of an actor a sketch can be made following the general shape and features of the person’s face. Although this personalized make up sketch provides you with a clearer vision of how the finished make up design will appear, make up designs can also be sketched on generic, or non specific face drawings.
Stage makeup means decorative makeup and wearing ornaments for a particular scene for a particular stage. A character is shown differently on a stage by his make up or the way in which he is wearing ornaments. The important thing in a makeup is to show the special characteristics of a character to the audience. The audience should be able to recognize the importance of the character by just viewing the make up worn by the characters on stage. There are many things involved in doing make up for an actor.
Make up style means decorating the actor according to the character for a particular play. Make up style can depend on either the character in a play or the production style of the entire production team. Therefore make up style means decorating all the characters in a play according to a particular production style. Makeup style should be created according to the script, playwright’s interpretations, artistic director and the production team. Another main thing in make up is the dramatic style. Therefore these are the important constituents for make up in a successful performance.
There are four general stylistic categories of stage make-up - straight, remedial, character and fantasy. As with style in other areas of theatrical design, the demarcation in practice between the various categories is unimportant. The labels are just convenient road signs for relative locations on the continuum of style.
STYLIZED MAKEUP
The world has a rich cultural legacy literally thousands of years old. It has many traditional performances. Every performance has its own make up. The traditional make-ups are stylized. The stylized make-up plays a key role in Theru-k-koothu, or Kathakali, or Noh or Bunraku. In modern times, a term called stylization is used. Stylization is not only used in acting but is also used in set design, costume, and lighting design and also in make up. In a production the dramatic style and the stylization are entirely different things.
For example, if a production team or a director wishes to do a play from a Shakespearean drama in a Theru-k-koothu form, then he can give the performance with all the characteristics of Theru-k-koothu - like the songs, dances from it. He can take the make up style of a particular play like “Macbeth” and give a performance
The makeup style depends on various things like attaching a beard, a mustache, side burns etc. Hairstyles also play an important role developing a character in a play, for example when a young man is transformed into an old man, gray hair is used.
In total, make-up plays an important role in theatrical productions in terms of creating a sense of aesthetic feelings in the mind of the audience.
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