In class Feedback

For my chosen historical character, I have chosen to work on Fraulein Schneider. We were asked to make a presentation for the development of ideas so far. The in class presentation received feedback from the rest of the class. My feedback was as follows:

- The breakdown of the scene I have chosen was very nice.

- More detail needs to be given when talking about ageing a model. How will you do this? What will you do?

- Why have you chosen to use the make-up design, where is it from and how is it historical?

- The hair design also needs historical references. Research into the headpieces of the time, how did they work? What did they represent? How would they be secured?

- Show evidence of latex on the skin. 

- Historical references need to be practiced. 

The feedback given will help me to make my idea as detailed as possible with the appropriate research. I think the presentation has helped me get a better understanding of what approach I need to take next. 

Fraulein Schneider Character Presentation

The scene I have chosen to look at is Act One, Scene Three. This scene is where we are first introduced to Fraulein Schneider. From this first interaction with Cliff Bradshaw we learn a lot about the character of Schneider.  From the opening stage directions we learn her age, her zest for life, how nosey she is and the fact that she is indestructible. Perhaps through life experience she has become indestructible. The middle of the passage shows how Schneider is trying to make Cliff Bradshaw take the room. Here she is persuading, trying her hardest to get the room let. This could be because she is desperate for money due to the economical downturn. The last section shows an insight into Schneider’s past in the flat, saying people of real quality used to stay. Why did they stop? Perhaps the sanctions caused the people of quality to lose their money, meaning they had to leave Schneider. 

The actress who has inspired my idea of Fraulein Schneider, is Brigitte Helm. Even though Helms' career started when she was only 18 years old, I think she looks a lot older. I think the hair around the face makes her look aged. Some of the facial expressions Helm pulls in the film also gives her an older persona.

Brigitte Helm. Metropolis. 1927. viewed 24/10/14 

Brigitte Helm. Viewed 24/10/14

The still above is the image that makes me think of Schneider. The intense look could signify her interest in everything around her. Here Helm is pulling on some kind of garment, perhaps a dressing gown, which is what Schneider is wearing in her opening scene. Although Helm is a young actress here, I can imagine how she would look when 60. Wrinkles around the eyes and lips, she would still have the thin lips seen here and a less intense eye. I think the hair would be wispier because of her age. It also wouldn't be so perfect because the character of Schneider would not have had to time to make her appearance perfect, if she had to clean, run and look after the guests in her flat. 

The mood board above shows my ideas on what Schneider would look like from the stage directions given in Act One, Scene Three. I think her skin will be aged as she is around 60 years of age. For this I will use latex and Kryolan Supracolour Palette in order to create some wrinkles around the eye area and lips; the Supracolour palette will create the lines and shadows across the face. I think her eyes would have been natural with a little bit of mascara, because she wouldn’t be able to afford elaborate make-up. The mascara could be smudged a little bit under the eyes to show the appearance of sweat. Her lips would be a dark red colour to make herself presentable. This however wouldn’t be thick, but applied with the finger to show that the lipstick has come away from the lip due to how hard Schneider is working. 

The mood board above shows my inspiration for what I think Fraulein Schneider’s hair would look like. Because she is 60 her hair would gradually be getting greyer, therefore there will be different tones of grey in the hair. The hair would be long, because the older generation didn’t cut their hair short as this was what the younger generation did in order to shock the elders. The front of the hair I imagined to be wavy. The rest of the hair would be pinned up curls that are waiting to cool down. The hair would be covered with a see through type of material. I think that Cliff Bradshaw caught her at a moment that she was getting ready therefore she still has half her hair in preparation. She would have covered her hair so her new guest wouldn’t see her looking non presentable.

Above is a mood board for scenery in Act one, Scene three. I think that the room would be very basic. The paint would be coming off the wall. The room would look dirty no matter how hard Schneider tried to clean it. The pieces of furniture would be basic although there may be a couple of pieces that Schneider hasn’t sold that show the art deco movement.

The idea for my make-up look for Schneider consists of aged skin, dark lips and natural eyes. I will use latex around the eye and lip area to crease the skin. And then use Kryolan Supracolour palette to create the lines in the face. The lips will be applied with the finger to create a barely there look as if the lipstick has started to come away from the lip. The cheeks are a red colour on the apple of the cheek to show she is flushed. I will have to carry out tests to see if latex would be the right product to use, because of experience I know that it is tricky to use, therefore I may have to use glue or duo eyelash glue to create the same effect.

The idea for my hair look is inspired by the bobs created in the 1920’s and the hair seen on Brigitte Helm throughout her early film roles. The front section of the hair will be curled and then brushed out and pinned behind the material. The rest of the hair will be pinned up in curls and placed under a see through material that will act as a head band. 

Fraulein Schneider Scenery Moodboard

The mood board above shows what I think Fraulein Schneider's flat would look like. The decor would be full of art deco pieces, as the era created more elaborate pieces of art. The walls would be a green colour maybe decaying like the top left image because there wasn't any money to fix up the house and make it presentable. The furnishings would be basic pieces with elaborate carvings into the woodwork. 

Fraulein Schneider Make-up Moodboard

The inspiration for the make-up for Fraulein Schneider is represented in the mood board above. As the character is 60 her skin would have aged therefore I would use Kryolan Supracolour to create lines where the wrinkles would be. I would also use latex on the skin around the eye and lip area to create deeper wrinkles like the picture top left. When it comes to her eye makeup I don't think that Schneider would have worn much, maybe just a simple mascara, brown to be natural. This could be smudged a little bit below the eye in an attempt to keep the character looking young. The lips I imagined to be a dark red shade, applied with the finger to create a subtle look not a high intense gloss. Her skin will be on the pale side with rosy cheeks. 

Fraulein Schneider Hair Moodboard

The inspiration for my take on what Fraulein Schneider would look like is represented here in the mood board, I think she will have long hair with finger waves in the front. The hair will have grey streaks through it to show Schneider's age of 60. The remanding section of the hair will be tied into rag curls and placed under some material to protect it. The material needs to be semi see through so that you can see the curls underneath. 

What does the character want? Why?

What does the character want?

In the scene I have chosen to study, Act One, Scene Three, the character of Schneider wants Cliff Bradshaw to rent one of her rooms for 100 marks. 

Why do they want it?

Schneider would like another tenant in her accommodation so that she receives more income. This is why she agrees to take 50 marks less than what she is asking because she needs to take whatever money she can get, because who knows where the next guest would come from?

Why do they want it now?

Schneider needs the money now in order to make her quota. Schneider would be calculating her income in order to keep track on what money goes where. This would be extremely important in 1920's Berlin as Germany had to pay reparations, the government printed more money which caused inflation. This lead to money becoming worthless. Therefore any money that Schneider could receive would need to be written down and spent wisely before the rate of inflation changed. 

What would happen if they don't get it now?

If Schneider failed to rent the room to Cliff Bradshaw, this means that she would have lost out on 50 marks a week that would have gone towards paying bills and buying food. Without this money, Schneider would struggle to keep her finances and the business in check. If she fails to bring in enough money, this would mean standards of the flat would slip as seen when Fraulein Kost complains about no hot water. This could mean the loss of other guests which leads to loss of more money. 

Where have they come from?

What is their state of being?

Fraulein Schneider's state of being is working as a land lady, renting out spare rooms in her flat to members of the public. We learn this from the opening character list. The introduction to Schneider in the play comes in Act one, Scene three, where her state of being comes into force introducing Cliff to what will hopefully turn out to be his room. The director of the script doesn't inform you straight away of what Schneider's state of being is therefore you have to read between the lines to invent this. In the scene before, Ernst Ludwig is trying to convince Cliff Bradshaw to stay in the finest residence in Berlin. The description given is that the rooms are inexpensive and awful. This creates imagery of a small room, barely there furniture and grey tones. The director then gives contrast to this by introducing Fraulein Schneider dressed in a flowered dressing gown, which gives an impression of something hopeful. Schneider's overall state of being in Act one Scene three, is one of desperation. She has to convince Cliff Bradshaw to stay in her rooms, leading her to reduce the price. Once the deal has been made, Schneider breaks into verse which gives the scene some context as to how Schneider is in that situation. It shows her attitude towards taking in guests, 'The fifty that I will get Is fifty more than I had yesterday'. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 12) This shows her attitude towards taking any money that she can get, which reflects upon the hardship that was Germany at the time. Furthermore, it gives context to her earlier life, 'And I had a maid doing all of the housework, not me.' (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 12) The quote here shows that Schneider once had a life of luxury, but her state of being has changed, perhaps after the war. 

Her state of being possibly changed once her man died. 'Now I have what he missed and my figure is trim But he lies in a churchyard plot'. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 12)  The interpretation I get from this is that Schneider and her man wanted to open up and run together a hotel for people high up in society, this being what he has missed and what she now has. Perhaps he died in the war. Schneider comments that her fortune has gone, this is understandable as it became harder to live in Germany with the sanctions placed upon them. This meant that the rich would have left the country to get more money for their worth, leaving Schneider with less valued persons to rent her rooms. Perhaps with the death of her loved one, she lost money that would have been his wage. With the bills that come with running an establishment it is easy to see how she would have lost her money. The state of being in the verse is one of sadness as Schneider reflects on her time. From this verse we can see how she does have a lot of life experience, experiencing both the poor and rich side of life. 'It all goes on. So who cares?' (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 13) 

When is it?

Act one, scene three.

I believe that the season in which the scene is set would be late autumn to winter. This is because my chosen character of Fräulein Schneider is wearing a dressing gown and slippers. Generally in spring and summer you would cover up with a thinner fabric then a dressing gown. Furthermore whilst settling the guest into the room, Schneider takes a blanket out of the armoire. Once again blankets won't be used in spring or summer. Also, the character of Cliff is wearing an overcoat, 'Cliff removes his overcoat and puts it on the bed.' ((Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 13) 

The time of the day is difficult to tell. It could be that Schneider had slept in and has woken up in the middle of the day. More then likely it is early morning as other lodgers are taking showers. It could be that Cliff has arrived so early which is why Schneider has been caught in her dressing gown and slippers. The time of year is also one that is tricky to tell, I think that it could be around 1920. This is because the furnishings in the house are minimal. I think this could be because of the sanctions placed upon Germany in the Treaty of Versailles, which saw German people lose possessions. Therefore Schneider wouldn't have had much furniture to give to her guests. 

Berlin winter fashion. 1920. Viewed 18/10.14

Where are they?

The scene I have decided to base my historical character on is the first time we meet Fraulein Schneider in Act One, Scene Three. The description of the room is described as: The furnishings are ugly and ponderous: a bed, a table with two chairs, an armoire, a coat rack, and, behind a curtain, a washstand. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 11) Although Schneider appears to be proud of her flat the decorations do not seem to suggest this. Because of the economical state of Berlin in the late 1920's I think that Schneider would not have had the money to decorate the house to a high standard that she would be happy with. Furthermore, she will continue to charge high prices for the rooms in order to keep the place running. The description of the room gives the impression of a bleak room as the only verb used to describe the furniture is ugly. This suggests that the room is not nice to look at and gives me the impression of being quite dark with grey colours. The furniture in the room also seems quite basic. The lack of colour and furniture gives the impression that the whole situation in the house is bleak, this could reflect the situation in Germany itself as there was not any money in the country. Things were hard meaning people would try and sell what they had just so they could buy food. Perhaps Schneider had nice furniture but had to sell it in order to make some money. Once Cliff decides on the room, Fraulein Kost comes into the scene saying there isn't any hot water for the second time in the week. This to me suggests that there is a problem with the water system in the flat but because Schneider is alone and doesn't have much money this may not get fixed. Furthermore, the image i get in my head from this scene is one where paint is falling off the wall, no matter how hard the flat is cleaned it is still going to look dirty. Perhaps this is why Schneider appears to be cleaning all the time. 

Fritz Lang and Thea Von Harbou. 1920's. viewed 18/10/14

From the description of the room, I think that it would be a blank canvas for the guest so that they could put their own pieces of art, flowers and anything that reminded them of home into the room. Much like student houses today! The decor would be bland like described. Perhaps this was why Cliff didn't want to pay any more than 50 marks for it. 

Fraulein Schneider Hair Inspiration

http://uk.pinterest.com/naomihalfacre/fraulein-schneider-hair-inspiration/

The 1920's saw hairstyles change dramatically from the Victorian period previous. The hair formally long, was cut short to an effortless manageable style and also to shock the older generation. The older generation kept their hair long to keep their femininity as the shorter hair was androgynous. To add femininity to shorter hair, expensive jewels and elaborate headpieces were added. I believe that Fraulein Schneider would have kept her hair long but would have styled it up and always out of the way so not to interfere with her daily chores. I imagine Schneider to have rag curls in preparation to make herself more presentable but this never manages to happen. I think this look would compliment the idea that Schneider is always cleaning. The hair may be covered in some kind of clear netting to protect it. Furthermore, I think she would have wavy curls at the front with the rest of the hair tucked under a net. 

Example of what I think Schneiders hair would look like. Viewed 18/10/14

Fräulein Schneider Make-up inspiration

http://uk.pinterest.com/naomihalfacre/fr%C3%A4ulein-schneider-makeup-inspiration/

The 1920's make-up style was similar to that of the Victorian era previous only this time the makeup products were professionally made and didn't harm the skin. The early 20's saw pale faces being the height of fashion, the later 20's saw this decrease to a natural shade. The lips were normally painted a dark rouge colour as there wasn't the shades of lipstick that are available to use today. The cupid bow on the lip was accentuated and the thin lip was seen to be desirable. This may have attracted the attention of men. The eyes were made to stand out against the lip. Lashes were made thick and eyes were plastered with liner to make the eyes larger giving the women an innocent look although they were far from! The older generation would have been more subtle with their makeup look, avoiding the harsh makeup that would have been used when they were younger. I think that Fraulein Schneider's skin would be aged through the harsh years of having to take care of her home and lodgers. Therefore, she may try to keep hold onto her youthful looks but not have time for the upkeep it entails. I think that if I re-create Schneider I would need to make the skin look old, outlining the lines in the face and using latex to create some wrinkles under the eyes. I will also age the lips, and then colour them red making sure to make the cupids bow pinched. I think the makeup would be minimal because Schneider would not have had a lot of time to herself. Therefore the eye makeup would be minimal, maybe just the lashes coated in a brown mascara to make the character look natural. 

Example of ageing for the character of Fraulein Schneider. Viewed 18/10/14

Historical Character - Fraulein Schneider

Who are they?

The initial information given to us in the script of Cabaret is that Fraulein Schneider is a landlady who rents rooms in her large flat. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43.) The next time we encounter Schneider is in Act one, Scene Three. The stage directions read: As the lights come up, Fraulein Schneider enters. She is about sixty; full of vitality, interested in everything, probably indestructible. She wears a flowered dressing gown and carpet slippers. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 11)  From the description here we learn Schneider's age, the fact she is nosey and how she has a strong personality and mind. Note in the script that Schneider is the only character that has her age stated in the stage directions. Why is this? I think this could be for the actors and production team to remember that they are playing an older character in a play about the younger generation. The stage directions state that Schneider is full of vitality, vitality here meaning a vigor for life. The impression I get from this stage direction is that Schneider has had a lot of life experience; becoming wise making her indestructible. In the play Schneider owns her own flat in which she rents out rooms in order to make ends meet. In order to own a flat after the war she must have had some money. Perhaps before the war Schneider lived there as a lady of leisure living off rich parents. However in the script Schneider reminisces about when her rooms were full of persons of real quality. (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 11) Therefore I think that she has always rented out rooms maybe to people of hierarchy in the army. The fall of Germany after the war may be the reason as to why she now rents out every room in the flat in order to make enough money to pay for the flat. I think that this would give her life experience. Also her appearance would have changed if she no longer has people of importance staying in her flat. Before, she would have wanted to impress the lodgers that were coming to stay because they were people of social quality, now however she is welcoming guests to the flat in her dressing gown and slippers. 

From the description we find out the Schneider is 'interested in everything'. I find this easy to believe because she is letting people in to her home therefore she will want to know everything she can about this character. I think that she also keeps an interest in things because she wants to make sure that everything is in order, so that she herself won't get in trouble with the government for the actions of others. In Act one, Scene Seven we see an example of how Schneider is nosey when she catches Fraulein Kost with a sailor. 'You think i do not know what goes on here?..God only knows what the neighbours must think i have here.' (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 33) Schneider observes what happens in the flat day to day, this could be from where she is cleaning all the time so she has time to look around and listen to what is happening behind the closed doors of her lodgers. From this quote we also find out that Schneider is proud as she cares about what the neighbours will think of her. She won't have her name tainted for the sake of another. The indestructible description of Schneider proves that she is strong and not one to be messed with. The character is forward in asking for what she wants however this is not always achieved. When Schnieder has a run in with Kost about the sailors, Kost manages to worm her way out of having to give up seeing the sailors. This makes Schneider angry and shows a motherly side, with Schneider stating 'I have put my foot down!' (Masteroff J (1955). Cabaret. New York: Tams-witmark Music Library Inc. 43. Page 34) I think that Schneider could possibly feel a maternal instinct towards the younger ladies and gentlemen that come to stay because she has no children of her own. Therefore, I think they compensate which is why she is protective over them and what they do. 

The costume suggests that the meeting between Schneider and Cliff could be early morning. Perhaps she has just woken up and the dressing gown and slippers were most convenient at the time. It could be that she was in the middle of getting ready to welcome new guests, or she could have been cleaning. Because she doesn't have anybody to impress as the guests aren't people of importance maybe she feels like she doesn't need to dress up. Perhaps she cleans in carpet slippers for comfort. The carpet slippers would have made Schneider shuffle across the floor in a typical old lady mannerism. Furthermore the carpet slippers create the image in my head of a geisha walking around in small shoes. The flowery dressing gown reminds me of the kimono's geisha's wear. This costume also adds femininity to a character who comes across as a woman in power and control. 

Otto Dix Oil Painting

Otto Dix. Self-Portrait. 1913. Oil Painting. Viewed 13/10/14. Available to view: http://www.ottodix.org/index/catalog-paintings

The latest studio session was based on the oil painting above by Otto Dix. For this we had to recreate the painting but on the face with the idea that the face is a blank canvas. To recreate the effect of the oil painting we used Kryolan Supracolour Palette. This product is good to use to create strong lines and bold colouring. However, because the product is grease based it is easily smudged. Also, only brushes can be used because the heat from fingers will smudge the product and ruin the effect you are trying to create. 

Above is my interpretation of the painting. I started by using the lighter colours of orange and skin tone to create the base. I then added the grey and black tones as the shading and the white to highlight. This product is good to use as the light catches the different tone of colours. The white was added at the end otherwise it would've blended in with the other colours creating the wrong tones. 

Cast of Characters - Cabaret

Cast of Characters in Cabaret

• Master of Ceremonies (Emcee) - The owner of the Kit Kat Klub.
• Clifford Bradshaw - American Novelist 
• Fraulein Schneider - A landlady who rents rooms in her large flat
• Herr Schultz - One of Frl Schneider's roomers and the proprietor of a fruit shop. 
• Fraulein Kost - One of Frl Schneider's roomers, earns a living by offering favours to sailors.
• Sally Bowles - A British Cabaret singer at the Kit Kat Klub.
• Ernst Ludwig - A friendly and likeable German.

Master of Ceremonies (Emcee) is the owner of the Kit Kat Klub that hires Sally Bowles. In the script he appears regularly as the cabaret club performing scenes which relate to the scenes before with the main characters. 

Clifford Bradshaw is based on Christopher Isherwood. Bradshaw comes to Berlin to find inspiration for his first novel. On the train he meets Ernst Ludwig who tells him of a place to stay. Bradshaw rents a room in Fraulein Schneider's large flat. Later that night he is acquainted with Sally Bowles who later moves into his room. Bradshaw falls for Bowles, who ends up pregnant and aborts the baby. In the meantime, Bradshaw runs errands to Paris for his Nazi friend Ernst Ludwig. Ludwig only reveals his political preferences at the end of the script when Herr Schultz a jew intends on marrying Fraulein Schneider. It is then that Bradshaw decides to flee Berlin. 

Fraulein Schneider is the character that I have chosen to research into more. I believe that there is possibly more to this character than meets the eye. Schneider rents out rooms in her flat to those in need of a place to stay, but doesn't like how Kost uses her room. Schneider is worried that people will think she is running a brothel, which would get in her in trouble with the Nazi's. She also needs to make enough money so that she can pay for the flat each month, if not this would also get taken off her by the Nazi.

Herr Shultz is a gentleman who rents a room in Fraulein Schneider's flat. He also owns a fruit shop of which he gifts Schneider from. The play sees Shultz fall in love with Schneider and eventually ask for her hand in marriage. Schneider then becomes conscious of the fact that Shultz is a Jewish person in an increasing Nazi environment. Because of this Schneider ends the engagement as to not endanger herself.

Fraulein Kost also rents a room in Schneider's flat. From the script, one assumes that Kost sleeps with the sailors because of Schneider's reaction when she catches one coming out of Kost's room. Kost pays for her rent by entertaining sailors. I have decided to base my contemporary character on Kost as I believe she is the character that could be modernised best. 

Sally Bowles is a performer at the Kit Kat Klub. Here she meets rich gentleman and believes that they will make her the Hollywood actress she dreams of becoming. Bowles comes from a rich background in England however in the film adaptation Sally is made American because they wanted Liza Minnelli who was a sought after actress at the time. Whilst in Berlin, Sally Bowles stays at Fraulein Schneider's flat where she meets Cliff Bradshaw The pair bond and become the best of friends and later sleep together. Sally finds out that she is pregnant after a romance with another gentleman, who leaves her 300 marks to look after herself. Sally uses this money to get rid of the baby. Bowles herself is only 19 years of age and has had multiple abortions, which shocks Cliff. Bowles also has a 17 year old sister who lives back in England with her parents. 

Ernst Ludwig is Clifford Bradshaw's acquaintance in Berlin. Ludwig approaches Bradshaw on the train into Berlin, it later comes out in the script that Ludwig approached lone Englishmen on the train so that he could transport goods under their name in the carriage. Ludwig is transferring items into Berlin for the Nazi party. Later on into the script Ludwig convinces Bradshaw to make a few of these trips in order to make some good money, once Bradshaw finds out what is really going on he stops. At the end of the script, it is revealed that Ludwig is a Nazi after refusing to continue attending the engagement party for Schneider and Shultz. 

Wiemar Berlin 1920 - 1930

The 1920's was an era of monumental change. After the war ended in 1918, Germany were forced to sign the Treaty Of Versailles which stated that Germany was to blame for the damage and destruction caused by the war. The Treaty came with huge sanctions for Germany. Germany was forced to retrocede land that had been won during the War, this included Belgium, a country that Hitler would later fight for in World War 2. The sanctions also saw the German army get relinquished to 100,000 men. The sanctions set upon Germany in 1919 seemed so bleak until the 1920's came around.

 Although Germany were still paying highly for their actions; hyperinflation caused by the repayments to allied countries caused years of debt to Germany, this ended in 1924 when the repayments were decreased after many died of starvation. A movement was seeped through Berlin giving many optimism. A Wiemar Republic was created which ran from 1919 to 1933, earning the nickname 'The Golden Twenties'. During this time, art movements shone and became a way of life. Every street was filled with bars, clubs and cabarets. Technologically conditions improved as silent movies evolved into movies with sound. Art became a lot more expressionist as Art Deco came into full force creating masterpieces such as the Empire State Building in 1929. Flapper girls became more common with the androgynous look, dropped waist clothing and short hair. Literature, fashion, magazines all evolved becoming more exciting. All of the movements mentioned became everything that Berlin was about, which appealed to tourists all over the globe, including Christopher Isherwood who later wrote about it in his memoir 'Goodbye to Berlin'. 

Cabaret shows became popular with everybody loving the life of drugs, alcohol and sex, the life of anything goes! It's almost as if the 1920's was an era to let their hair down, quite literally, after the devastation the war caused. With such an intense way of life and self expression it would be questionable to have those who do not oppose to such a lifestyle. The Nazi party was already in force, persuading people of their ideals. The Nazi's were against many races, preferences when it came to sex and those of another religion. Anybody who was not seen as pure German blood in their eyes, would be beaten until the party came into full power in 1933 when the republic and lavish lifestyle ended. The end of the 1920's also saw the collapse of Wall Street which affected western industrialised countries including Germany. This is when Hitler saw his opportunity to attract suffering people to his promise of a better life which thus ended the Golden Twenties. 

Cabarett Der Komiker. Berlin. 1924. www.cabaret-berlin.com/?p=87

Abstract using Aquacolour

Abstract Painting using AquaColour

The inspiration for this practical came from abstract art from the 1920's - 30's in Weimar Berlin. Such artists as Jackson Pollock and Otto Dix focused on abstract art as the art movement continued. Below is my interpretation of abstract. 

For this you will need: 

- Kryolan Aquacolour Palette

- Water

- Different brushes to create varying strokes.

I chose to use the colours gold, silver, red, blue and black. I started by placing gold around the structure of the face and then filled in these lines with silver to highlight.

The next stage was to add some red into the face. I decided to brush this colour around the face in different strokes. 

I then added black around the eye area in flicks to create some texture on the face. I feel that the black leads your eye to the gold which outlines the structure of the face. 

Next blue was added around the eye to compliment the models eye colour. These lines bring the eyes into the abstract shapes I was trying to achieve.

Symbolism of Colours in Chinese Culture

After the summer project we discussed as a group what the colours meant in a Chinese culture, instead of the western culture some of the chosen films came from. 

Red - In China signifies Joy and fortune. Whereas in the west it comes across as love, lust and danger. In ancient China, Red got it's meaning from fire, one of the five elements. Colours in China are based on the five elements, therefore red does not mean danger in China. Red is also the traditional wedding colour bringing couples joy and fortune. 

White - Funeral and Grieving. The complete opposite of what it would signify in western cultures. I would look at white and think of heaven and all things pure. Whereas, the meaning in China is death. 

Black - Black here means heaven. Once again the complete opposite of what it would mean in western society. In my own interpretation I would look at black and think of fear and power. 

Yellow - Yellow in china means freedom.

Green - Health and Harmony. 

Blue - Immortality. 

The five elements also have colours to signify them. 
Wood - Green 
Fire - Red
Earth - Yellow 
Metal - White 
Water - Black


The seasons also have colours to signify their meaning. 

Spring - Green and Blue to signify health for the new life that is created during spring time. And blue for vitality. 

Summer - Red is the colour of summer. In western cultures one would think that this would be the chosen colour due to the warmth nature of it, however the meaning of red is joy meaning summer is a joyous season. 

Autumn - Orange is the colour of transformation which you can see on the leaves of trees during this season. 

Winter - Winter is signified by the colour black. Black has been chosen to show the arrival of water. 

There is also a colour for between the seasons - Yellow. 

As you can see from above colour is very important in some cultures. This research has made me more conscious of the meanings of colours and how they will be interpreted from different cultures. 

Goodbye to Berlin an Introduction

Imagine the late 1920's, early 1930's living in Weimer Berlin. A time of the greatest art movements ever seen.  A time where culture was full of creativity and allowed people to strive to the best of their ability. One such person was Christopher Isherwood, the author of Goodbye to Berlin. A novel later turned into the hit Cabaret. Although I have heard of Cabaret, I have never got round to watching the movie. Therefore I am looking forward to reading the book that inspired the film, but also looking forward to watching the film itself. Weimer Berlin is also a bit of a mystery to me. Therefore I will need to research a lot to understand the setting and circumstances surrounding the book and film.

Thankfully due to the summer project, I will be able to understand how colour is used to signify certain things. I think this research will make me more conscious to the choices that I am making when it comes to styling and makeup. For the summer project I looked at the film 'Memoirs of a Geisha.' I chose to watch this film because the storyline appealed to me. Below is my interpretation of what I thought the colours to mean. 

2005. Memoirs of a Geisha. Digital Image. Viewed 01.09.14 Available to view: www.googleimages.com

Blue : The still here from the film Memoirs of a Geisha comes from the scene when Chiyo, the main character, performs for an audience in order to gain bids from gentleman which will make her a full geisha. The scene is lit with blue hues then leading to reds. Reading into the meanings of colours, one can see that the blueness of the scene means powerlessness which can be explained in the sense that Chiyo is standing alone infront of an audience having no control over her future. The powerless aspect comes in as Chiyo is ultimately powerless as to who becomes the highest bidder. The colour blue can also be seen at the end of the film before war starts when Chiyo has to let go of her love for the Chairman, this could suggest that Chiyo is powerless to her feelings. The blue hues could also reflect Chiyo's mood, as she is having to perform for peoples affections when she really only wants the chairman. The blue could signify the end of hope for the chairman to return her affections. At the end of the scene a red light desends on to Chiyo. The colour red symbolises power, which is visible in the first scenes when the head geisha, Hatsumomo, shows a young Chiyo who is boss. The costume is of light colouring to show different hues of blue. The hair is left long to act as a shield for the face, allowing the face to be hidden until the end of the performance where the red light descends onto the hopeful geisha. The hair could act as a shield to hide the face to show the transition that has been made between natural beauty and the geisha beauty. The makeup has been kept simple to allow for the face to also become a blue hue. The eye makeup and lips are typical geisha style to maximise the beauty and to entice bids. 

2005. Memoirs of a Geisha. Digital Image. Viewed 01.09.14 Available to view: www.googleimages.com

Orange: The beginning of the film sees young school girl Chiyo running through an alley of bright orange. The orange colour can show hope as the scene comes after Chiyo is given sorbet by the Chairman. The orange flashes across the screen showing the happiness and warmth that Chiyo feels after this act of kindness.The kimono worn at this point also has a light orange band to blend the character and colouring together. The whole scene is based around how the act of kindness makes Chiyo feel. The hair and makeup is minimal to show the age of the character and to maximise the innocence in Chiyo's eyes. This innocence is a huge contrast to the later Chiyo, who manages to hide her innocence behind the mask of geisha makeup.

2005. Memoirs of a Geisha. Digital Image. Viewed 01.09.14 Available to view: www.googleimages.com

Greys: The opening scenes of the film see two young girls being taken from their home. The first 5 minutes of the film are completely grey creating a mood of despair. The image is cold with shadows and rain contributing to the feeling of despair. The characters are also dressed in shades of grey to blend in with the background. The makeup and hair is minimal, the skin and lips pale and the hair soaked from the rain. The whole scene projects sadness and coldness. The director would have used this colouring to make the audience feel emotion towards the characters. The film then warms up with tones of orange to show the hope. Within the film the colours of the backdrop alternate between greys and oranges to show the highs and lows in Chiyo's life. 

2005. Memoirs of a Geisha. Digital Image. Viewed 01.09.14 Available to view: www.googleimages.com

Light colours: The end of the film sees Chiyo waiting in a garden to find out who her 'danna' is going to be. The garden is full of cherry blossom trees and light colouring. This could represent the new fresh path that Chiyo is about to be lead down. The end of the film is a lot more colourful then the beginning, symbolising the place Chiyo is now in, is a lot better then her origins. The kimono worn is colourful, mirroring the pink of the cherry blossom. The characters hair is pulled back into a smooth bun, allowing for the audience to see the emotion. Before, at the performance, the hair acted as a shield to hide the emotion. This time, the hair is pulled back to lay the emotion bare. 

2005. Memoirs of a Geisha. Digital Image. Viewed 01.09.14 Available to view: www.googleimages.com

Red: The head Geisha is found to be having sex with her boyfriend which is frowned upon as she is not pure. The scene here shows when mother is proving the deceit. The colours here are interesting, as red normally shows power. However, in this scene red is seen as deceit and betrayal to mirror the actions of the character. The deep red could signify the lust that Hatsumomo has for her boyfriend. The black colouring holds all the power and is one to be feared. The gold represents the warmer character. The hair and makeup here is once again minimal so not to detract from the seriousness of the scene.