Daniel Polydor

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The Make up

All protagonists of any show must always undergo the process of making up, before and during their work. Make-up is extremely important and is often the determining factor of their success. In most cases, make-up constitutes an essential look in the majority of theatrical performances. Intense stage lighting produces intense effects on a human face; if that face must express something to its audience, the make-up must be well-defined and meticulously applied.
The principal function of stage make-up is to give the face of a performer an appearance adapted to that particular portrayal. Each show demands a specific type of make-up, which must go through several aspects of change during the portrayal. It is true to say that the make-up used is affected by the stage, the scenery, the costumes, the characters, the lights, the size of the theatre and the locality in which the recital takes place.
Daniel has developed a unique technique for preparing his make-up. For some characters he portrays, Daniel uses a few special methods for applying different types of make-up, which vary depending on the character. Daniel has always wanted to (and still does) delve deeply into these important challenges, intrigued and attracted to the fascination of the cinematography special effects that are, in some way, part of that mysterious world of magic and illusion that is described as scenic art. Consequently he followed, with much interest, some specialised theatrical and cinematic graphical make-up courses at two prestigious centres of study: Dick Smith’s Make-Up Course and Joe Blasco’s Make-Up Center in Florida, Orlando.
Naturally, Daniel doesn’t use many of the special effects that are normally reserved for the cinema. The passion for this type of effect and the desire to know the particular preparation techniques, however, have pushed him to research and learn this challenge, which will probably serve him well in the future; creating and identifying special effects for other theatrical artists and productions.
Daniel himself constructs all the various applications of facial prosthetics and latex masks that he uses in his show. Using his face-modelling techniques he prepares all the components of his stage make-up. His skill and expertise are not limited to what one sees on stage during his show; they extend to other activities in life that are an integral part of everything he is about. Daniel prepares his stage costumes in the same meticulous way, from the original design to the completion of every detail.


 
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