Initial Sally Bowles Face Charts

1. My first look incorporates the typical heavy smokey eye that some of the 1920's women used to wear.  I would keep the shadow quite neutral on the top and heavily line the waterline with a black eye kohl, using lashings of mascara to give voluminous, fluttery lashes. The eye make up would be slightly smudged.  I would keep the skin pale using a rich liquid foundation, lightly contour and apply a light pink blush, to just add a flush of colour to the cheeks.  My main feature for this look would be the lips...I would create a red stained lip rather than using full colour payoff from the lipstick, and I would smudge the lipstick around the mouth, ad if Sally has had her face in her hands crying.

2. The second look I created is more of a typical Sally Bowles look.  I would create a heavy smokey eye using lots of browns, purple and blacks with lots of layers of mascara to create that thick lash look.  I'd keep the face pale again, contouring less than my previous look, the blending wouldn't be perfect as I imagine Sally's make up would of been far from perfect at the time.  The brows would be thin and black in colour.  I would add a red/pink blush that would act as the rouge of the 1920s and would finish the look with a deep red lip.  To keep the insecure and emotional theme of my Sally, I would add tears running down the face using a tear stick, this would also leave water marks in the foundation.

3.  My last look, is the look that shows Sally's sadness the most.  Her skin would be pale in colour, the foundation applied far from perfectly.  The face would be slightly contoured with a baby pink blush, just to add a little bit of colour to the face, not her usual reddy/ pink bright cheek as she wouldn't of made much effort here.  The eyeshadow would be neutral consisting of a neutral matte shade and a soft brown to give some definition, with a little bit of eye kohl on the upper lash line and water line.  She would be wearing very minimal mascara, in fact all the mascara she had been wearing previously would be all smudged around her eyes.  Sally would still be wearing her statement red lip however, it just wouldn't be applied as perfectly as usual. 

Sally Bowles Hair Charts

Hair Chart 2- Chosen Style

Hair Chart 1

These are my Sally Bowles Hair Charts, creating Hair Charts is definitely not my strongest skill, however I tried my hardest to create the right effect of the style on paper.  My First hair chart features Sally with a dark brown coloured hair, the style is very simple, much like her pixie crop in the Cabaret film.  This style would be generally just a very wavy with a strong side parting, both of my designs don't incorporate anything too extravagant, as in my scene, Sally is emotional and drained and wouldn't of made as much effort as she usually would.

My second design, which I have chosen to use for my final design, is much more child like.  Sally is blonde, which I feel portrays innocence well.  The style has a fairly strand side parting, generally curly, with Marcel waves at the front of the head.  On one side of the style, the hair is pulled back away from the face.  I would also like the style to be messy, clipped back with no really neatness and wispy bits of hair across the head.

Stanislavski's Acting Technique- Historical Post 10 & 11

Actioning

For this post, I have taken a look at my scene and chosen an active verb for my character. My next step is to begin to think about how I will translate that in make-up and hair?

' TO REGRET'

• The verb I have chosen from Act Two, Scene Six of the Cabaret Script is 'to regret'.  To regret is to feel sorrow or remorse for (an act, fault, disappointment, etc.) or to think of with a sense of loss.  Within the scene, I feel like the word regret reflects Sally and Cliffs emotions perfectly.    Sally tells Cliff that "My one regret is I honestly believe you'd have been a wonderful father",  suggesting that Sally feels awful for taking an exciting opportunity away from Cliff, the chance for him to be a father.
• Regret is definitely the key emotion throughout the final few scenes of the script.  With regards to portraying the my chosen verb through make-up,  I would apply less than you would usually see Sally wearing.  I wouldn't apply any eyelashes to my Sally Bowles model, instead I would apply a very neutral eye with a few coats of mascara on the natural lashes, but I would create a smudged effect around the eye, to show that Sally had been crying.  I would also add a tear falling from the eyes.  As I have said previously,  I would still keep a red lip which connotes that Sally will always be a showgirl at heart, but would create more of a stained look, as if Sally had been wearing the lipstick for a long time.  The hair would be still polished but messier than usual.
• Looking through the scene, the first active verb I would attribute to my character is 'to spoil' something.  Sally may be seen to have spoilt a great opportunity for Cliff and herself by her actions, although in reality she may have made the right decision based on her lifestyle at the time.  Another verb I would use is 'to hold',  I would use it in the sense of Cliff and Sally being held together as a couple,  I think both characters are unsure of their future together and what there is left to hold them together.  The last verb that I though of was 'to reach',  at the end of y chosen scene Sally tries to reach out to Cliff, asking him to stay, as well as Cliff reaching out to Sally, asking her to go to America with him.  They are both reaching out to each other, hoping that one of them will make a decision so that they can stay together. 

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Studio Sessions: Prepping the hair for Wig Application

Tools Needed:

Paddle Brush
Pintail Coms
Plenty of different style wigs

The top of a pair of tights 

Bobby Pins

Dry Shampoo/ Wax (If hair is freshly washed)

1. Sit your model down, then thoroughly brush through their hair with the paddle brush, making sure there are no knots in the hair.

2. Create a centre parting with your pintail comb all the way through the hair, going from the crown all the way down the back of the head.  This will create two even sections of hair for you to French Plait. 

3. Tightly French Plait these two sections of hair, directing the hair downwards.

4. Wrap the plaits around each side of the head, pinning them against the top of each sides french plait with some bobby pins.

5. Next, apply the tights over the head.  You will need to get your model to do 'bunny ears' (model holds fingers up against hairline to create what looks like bunny ears), while they are doing this pull the tights over the head, making sure all the hair is covered. 

6. Finally apply your 'scratch wigs', again when you pull the wig over the head, ask your model to 'bunny ears'.  Adjust the wig until it is in the perfect position.

7. Make sure you try a variety of wigs on, as each colour and style of wig will change how a person looks.  Take into account how it changes the skin tone, face shape etc. 

'Bunny Ears'

Me once the cap had been applied.

I felt like this wig really aged me, the dark colour made my skin look much paler than usual and the structured shape really made my features a lot more defined.

Anita Berber Continuity Images

Image 1

Image 2:

Hair in the 1920's-1930's

The Bob

The 1920s and 1930s saw a major change in women's hairstyling, long flowing locks were cut off to short sophisticated bobs.  These changes all started with professional ballroom dancer Irene Castle in 1915 when she had her long locks cut into a bob for convenience. The bob was soon known as the castle bob or the 3/4 bob.

Image Credit: The Hairstyles That Defined American Culture in Every Decade - Mic. [ONLINE] Available at: http://mic.com/articles/90259/the-hairstyles-that-defined-american-culture-in-every-decade. [Accessed 18 October 2014].

The 1920s bob was a simple one length blunt cut that was in-line with the bottom of the ears.  The style was often worn with a full fringe, or styled away from the face.

Marcel Waves and Pin Curls

Image Credit: 2. Finger Waves - 8 Retro Hairstyles to Try out ... → Hair. [ONLINE] Available at: http://hair.allwomenstalk.com/retro-hairstyles-to-try-out/2/. [Accessed 18 October 2014].

Finger wave hairstyles enjoyed popularity in the 1920s and 1930s. They’re called finger waves because originally, obtaining the look involved pinching hair between the fingers while wet and combing in alternating directions before setting the hairstyle. The look is quite soft and feminine which took away from the harshness of the blunt bob.

Image Credit: Pin Curls - 7 Simple and Stylish Updos for Curly Hair ... → Hair. [ONLINE] Available at: http://hair.allwomenstalk.com/simple-and-stylish-updos-for-curly-hair/3/. [Accessed 18 October 2014].

Pin curls are soft waves that frame the face and create a sexy glamorous style. They would have been styled and sculpted to perfection, these added an elegant and sultry touch to any hairstyle.

Anita Berber

Anita Berber was Weimar Germany's decadent dancer extraordinaire.  Berber influences our style of applying make up greatly for this project, as she lived during the Weimar period. Everybody knew about her being Berlin's most extraordinary Cabaret dancer.

By the age of 16, she had moved to Berlin and made her debut. By 1918 she was working in film, and she began dancing nude in 1919.  Her drug addiction and her bisexual relationships were also a big topic of conversation in Weimar Berlin.

During my research I found a quote on the internet describing Anita Berber's physical appearance :

"She wore heavy dancer’s make-up, which on the black-and-white photos and films of the time came across as jet black lipstick painted across the heart-shaped part of her skinny lips, and charcoaled eyes."

Image Credit: Anita Berber | Cabaret Berlin. [ONLINE] Available at: http://www.cabaret-berlin.com/?p=365. [Accessed 18 October 2014].

Anita's Legacy now revolves around a 1987 film by Rosa von Praunheim titled Anita - Tänze des Lasters centers around the life of Anita Berber.

References:

Anita Berber quote:  Anita Berber | Cabaret Berlin. [ONLINE] Available at: http://www.cabaret-berlin.com/?p=365. [Accessed 18 October 2014].