《The Art of Theatrical Make-up》光之書籤

親愛的共創者，我是克萊兒。現在是2026年02月24日破曉時分，我已準備好為您呈現《The Art of Theatrical Make-up》的「光之書籤」。

這本由 Cavendish Morton 撰寫的著作，如同開啟了一扇通往舞台幕後魔法的「時光之窗」。它不僅僅是關於戲劇化妝的實用指南，更是一部關於角色塑造、視覺心理學與表演藝術哲思的深刻探討。我已將其核心精華精準擷取，並以繁體中文忠實翻譯呈現，希望能引導您快速而深入地領略其智慧之光。

在閱讀這篇「光之書籤」時，您將會發現 Morton 先生是如何將化妝視為一種活生生的藝術，如同雕塑家般塑造演員的臉龐，讓每一個角色都能在舞台上呼吸、感受、並與觀眾的心靈產生共鳴。他強調的「描寫，而不告知」的原則，在化妝藝術中也同樣重要——透過細節呈現角色的內在世界，而非直接說明。

現在，請允許我為您展開這份精心編織的「光之書籤」。

《戲劇化妝藝術》：舞台魅力的具象化形塑

作者：卡文迪許．莫頓 (Cavendish Morton)

本書深入探討了戲劇化妝的藝術與實踐，闡明了化妝如何作為演員演繹角色的強大工具，將抽象的劇本文字轉化為舞台上鮮活的生命。它不僅僅是技術手冊，更是一部關於角色塑造、視覺心理學與舞台魅力的思考。

前言 (Preface)

作者卡文迪許．莫頓在前言中提到，這本書的誕生並非刻意為之，而是一種「自然的成長」。他最初只是將自己扮演不同角色的照片作為記錄，這些研究在《Sketch》、《Tatler》、《Playgoer》等刊物發表後，引起了廣泛興趣。同行演員頻繁請他協助化妝，使他意識到教學需求的存在，材料也隨之累積，人們不斷建議他「將其編成一本書」。

莫頓深信自己對心理學 (psychology)、面相學 (physiognomy)、角色塑造 (characterisation)、舞台藝術 (art of the stage) 和攝影 (photography) 的深刻興趣，使他能夠從不同角度研究這個主題，並獲得完全獨特的見解。他在舞台上多年的經驗，包括在 Sir Herbert Beerbohm Tree、Mr. Forbes Robertson 和 Sir Charles Wyndham 的劇團中演出，以及有幸觀摩 Sir Henry Irving、Sir Herbert、Charles Warner、Franklin McLeay 和 M. de Max 化妝，甚至聆聽他們解釋工作方法，都進一步豐富了他的知識。

"Looking back on the method of production of this book, it seems to me not to have been so much a matter of toil as a natural growth. It seems to have produced itself, for my earliest photographs were taken as records of the different characters that I played. These studies, as they were published from time to time in the Sketch, Tatler, Playgoer and other papers, aroused a certain amount of interest. Frequent requests from brother actors for me to help them with their make-ups convinced me that my instruction was desired. As the material accumulated, I constantly heard the suggestion reiterated, 'Make a book of it.' A profound interest in psychology, physiognomy, or characterisation, the art of the stage, and photography, has enabled me to study the subject from different standpoints, and to gain an entirely individual impression of it. Many years spent on the stage in, among others, Sir Herbert Beerbohm Tree's, Mr. Forbes Robertson's, and Sir Charles Wyndham's companies, the privilege of watching Sir Henry Irving, Sir Herbert, Charles Warner, Franklin McLeay, and M. de Max making up, and, in some instances, hearing their methods of work explained, has supplemented the knowledge gained by my own experience."

第一章 舞台藝術 (Chapter I: The Art of the Stage)

莫頓開篇即指出舞台藝術的短暫 (ephemeral) 與轉瞬即逝 (evanescent)。演員的聲音所激發的文字，在劇場的共鳴氛圍中顫動片刻後歸於寂靜，隨後又被新的台詞取代。表演者的姿態與動作所形成的畫面，亦隨著劇情的展開而消逝。悲喜、溫柔與憤怒、愛與恨，情感起伏不定，場景如同幻燈片般消逝。

然而，這轉瞬即逝的藝術卻有其永恆的影響力。戲劇對人們的影響是如此深遠，一場精彩的演出能讓人回味多年，甚至改變其一生。舞台藝術的感染力源於它同時訴諸兩種感官：視覺與聽覺。演員透過激昂的情感，將畫面與詩歌融為一體，使無聲的詩意與凝固的圖像藝術活了過來。演員如同電極 (electrode)，收集世間瀰漫的戲劇之美，並將其釋放到緊張的劇場氛圍中。

演員的職責不僅是賦予角色生命，更應以能讓觀眾產生共鳴的方式呈現角色。若其感染力足夠強大，便能將個體觀眾的心靈融合成一種「綜合智能」(composite intelligence)。莫頓曾見過一種由小塊平面鏡製成的凹面反射鏡，能將光線放大千倍。對於演員而言，一個座無虛席的劇場亦應如此，每位觀眾的心中都應映照出角色的形象。

這種情感的統一性，是透過呈現與角色相關的某些身體和心理事實，使其能被形形色色的人群所理解。劇本由貫穿始終、構成主要力量的「經線式」(warp-like) 情節，以及穿梭其中、以鮮明對比的類型填充空白、將其綁定的「緯線式」(woof-like) 角色塑造而成。劇作家筆下的角色僅是廣泛的輪廓，而細膩的舉止、表情以及語氣中細微而有意義的變化，則全賴演員的創造。演員以其精神賦予台詞生命。

莫頓常認為，透過視覺對大腦產生的影響，比透過聽覺更為強烈。他得出此結論，是因為人們在完全不理解語言的戲劇或無聲的啞劇中，仍能深受感動。因此，當一個人完美地從身體層面實現所扮演的角色時，是否已成功了一半？本書正是為協助演員達成這「一半的戰役」而寫。

"How ephemeral is this art of the stage, how evanescent. Words quickened by the voices of the actors tremble for a moment in the sympathetic atmosphere of the theatre and are then engulfed in silence. This in its turn gives way to newly spoken words. Out of the illustrative gestures and actions of the players are pictures formed which each new phase of the unfolding of the play destroys. Joy gives place to grief, and grief to joy, gentleness to rage, and love to hate. The passions wax and wane. The scenes fade even as the lantern pictures vanish from the white screen. The curtain rustles down, severing those bonds of sympathy that the play has forged. Actors and audience turn away to pick up the links in their own particular chains of destiny.

How ephemeral, how evanescent. Yet that universal law of compensation yields its recompense: for no art is more enduring in its influence. Most men are so profoundly impressed by the drama that the recollection of a performance will abide for years; indeed some are so sensitive to its effect that their whole lives are coloured or are even changed by the sensation created by one fine bit of acting. That the art of the theatre should be so persuasive is in no way strange, for it makes a joint appeal through the portals of two senses simultaneously. The eye and ear alike are charmed. In this joint appeal lies the very essence of the theatrical. The actor by the heat of his passions fuses picture and poem. Dumb poetry and petrified graphic art come to life. Like an electrode the actor stands collecting the currents of dramatic beauty that pervade the world, and discharges them into the tense atmosphere of the theatre. It is the player's duty not only to lend life to the part that he plays, he should present the character in such a way that the spirit of each member of his audience moves in accord with it. If his appeal is strong it will weld the minds of his individual spectators into a kind of composite intelligence. I once saw a concave reflector made of small pieces of flat looking glass. These tiny mirrors multiplied the light placed in front a thousandfold. To the actor a well-crowded theatre should seem just such a reflection. In the mind of each member of his audience, should he, as in a glass, be mirrored. This unanimity of emotion is brought about by presenting certain physical and mental facts relative to character in such a way that they may be grasped by a number of variously constituted people. A play is woven of a warp-like plot running from beginning to end of the composition, constituting its chief strength; and woof-like characterisations which wend their way in and out through the plot binding it together and filling in gaps with the subsidiary interest of nicely contrasted types. The character as it leaves the playwright's hand is a broadly outlined drawing. The subtleties of manner and expression and those slight but significant inflections of voice are the creation of the actor. He vitalises the lines with his spirit. I have often thought that the appeal to the brain through the sense of seeing is stronger than that through the sense of hearing. I have been brought to this conclusion by the fact that people are deeply moved by the contemplation of a play in a language that they are totally ignorant of, or by the dumb show of a pantomime. Is not half the battle won when one perfectly physically realises the character to be impersonated? To assist in this half of the conflict this book was written."

第二章 角色設計 (Chapter II: On Designing the Character)

在研究角色時，演員首先需要通讀劇本，了解情節。莫頓建議，如果劇本沒有詳細描述角色特點，或沒有傳統的化妝方式可循，演員必須依賴自己的想像力。讀劇本時，應將角色視為獨立於自己的存在，彷彿在聆聽他人說話。然後，判斷什麼樣的人會說出這些話，表現出這種舉止。他的道德和心理特徵是什麼？將他視覺化，不要將他視為劇本中的一個元素，而是作為一個在人生旅途中偶然捲入戲劇衝突的人。去認識他，了解他的過往，因為時間和經驗會在他的身上留下印記。

一旦這個虛構的角色設計完成，接下來的任務就是看它如何與演員自身契合。演員應審視自己，找出與角色共同的特徵，並注意哪些特質需要強調，哪些需要壓抑。透過改變嘴巴和眼睛的表情來改變臉部的特徵。莫頓強調，應盡可能少用顏料。因為雖然厚重的顏料層容易掩蓋真實面貌，但化妝越濃重，透過臉部表情的變化來傳達細膩情感就越困難。

當演員在沒有人工修飾的情況下，盡可能地接近角色形象時，才能開始使用鼻膠 (nose paste)、顏料 (paint) 和粉底 (powder)。抹去一個特徵，強調另一個。改變鼻子的形狀，抹去眉毛再重新畫出不同的形狀。改變膚色。用顏料覆蓋睫毛和嘴唇，觀察其差異。在眼睛周圍打上陰影，從鼻孔處畫出邪惡的線條。讓臉部產生皺紋，並在皺紋自然出現的地方塗上顏料。如果角色需要，可以加上粗糙的皺紋髮 (crepe hair) 假髮或鬍鬚。

完成後，演員應退後幾步照鏡子，研究整體效果。這項工作類似於畫家進行初步素描 (preliminary sketches)，有助於將想法具體化。應反覆練習，直到角色完美發展。如果需要假髮，則應與最好的假髮師討論，提供粗略的草圖，或參考現有的插畫或雕刻。莫頓自己收集了大量有趣的版畫，並從舊漫畫家作品中獲得許多啟發。他建議在假髮完成前拜訪假髮師兩三次，以便在直接監督下製作，通常會更成功。

莫頓提醒，臉部的特徵取決於三種基本品質：形狀 (form)、顏色 (colour) 和表情 (expression)。前兩者幾乎是恆定的，第三者則會隨著情緒而永恆變化。莊重、愉悅、禁慾、放蕩、審美、世俗、靈性和物質，每種特質都有其獨特的顏色和形狀。表情則主要取決於劇中各種情緒的表現。化妝應盡可能明確，因為舞台的大小要求一定的廣度。不要忘記遠處的觀眾，儘管他們的金錢貢獻不多，但他們的熱情足以彌補。如果這些初步努力令人沮喪，請記住，一頂好的假髮和合適的服裝將大有幫助。

"Let us suppose that you have read the play, you know what the plot is about, and the part has been given to you to study. Perhaps the author describes the peculiarities of the character, or it is traditional to make up for the part in a given way. Failing help in either of these directions you must rely upon your own imagination. Read the part through, trying to think of the character as distinct from yourself. Pretend that you are listening to the words spoken by another. Decide what kind of a man would say such words and behave in such a manner. What are his moral and mental characteristics? Visualise him, think of him not as an element of the play but as one who on his journey through life has been accidentally involved in the dramatic conflict. Get acquainted with him, try to know something of his past life, for time and experience will have left their marks upon him. This fiction once designed, the next task is to see how it will fit. Study yourself with a view to finding out what traits you have in common with the character. Note the qualities that must be accentuated and those that must be subdued. Alter the character of your face by changing the expression of your mouth and eyes. Always remember that as little paint should be used as possible, for though it is easy to disguise by a thick mask of pigment, the heavier the make-up the more difficult it is to convey sensitive emotional variations by the changing expression of the face. If it is possible to arrange your own hair in a way suitable to the character so much the better, for though it may in no way seem more real than a wig it will prove infinitely more comfortable. I remember before M. de Max played l'Aiglon, he stayed in the house for weeks while his dark locks were slowly dyed a brilliant red. On the night following the production he told me disgustedly that people had criticised his wig. When you look as much like the part as you possibly can without the aid of artificial disguise, begin to apply nose paste, paint and powder. Obliterate one characteristic and accentuate another. Alter the shape of your nose, paint your eyebrows out and redraw them, altering their form. Change the colour of the skin. Cover eyelashes and lips with paint and note the difference. Put shadows round the eyes, sinister lines running from the nostrils. Wrinkle your face, and where the lines would naturally come apply the paint. Add a roughly shaped beard or moustache of crepe hair if the character demands it. Stand at a distance from the mirror, study the result. This work is similar to that of the painter when he makes preliminary sketches, it helps to get one's ideas into a concrete form. It should be done over and over again until the character is perfectly developed. If a wig is required, discuss it with the best wig-maker that you can find. Should you be able to draw supply him with a rough sketch. Failing this you will probably be able to find an illustration or an engraving which, though it may not be exactly what you want, will help you to explain your idea. I have made a large collection of different engravings of interesting types, and the work of the old caricaturists I have found very suggestive. Visit the wig-maker two or three times before the wig is completed, it will then be made under your direct supervision and will probably be more successful in every way. Remember that the character of a face depends on three elemental qualities, form, colour and expression. The first two are almost constant, the third is susceptible to perpetual change. The grave, the gay, the ascetic, the debauched, the æsthetic, the philistine, the spiritual and the material, each will have his distinguishing colour and form. The expression will depend much on the various moods portrayed during the action of the play. Make the characterisation as definite as possible, for the size of the stage demands a certain breadth of treatment. Do not forget the distant patron of the pit and gallery, for though his monetary contribution is humble he atones for this by the warmth of his enthusiasm. If the result of these preliminary efforts seem discouraging, remember a good wig and suitable costume will help materially."

第三章 插圖 (Chapter III: The Illustrations)

莫頓解釋書中所有插圖均以他自己的頭像為研究對象，原因有幾點。最重要的是，這能夠展示一個人透過化妝，可以塑造出多麼廣泛而獨特的類型。他選擇只用一張臉來呈現不同的偽裝，因為他自己的臉是最容易取得、最熟悉，且可以「最大程度地自由發揮」的對象。作為負責製作照片的攝影師，他可以隨時依賴模特兒的配合。

拍攝這些照片的過程充滿了相當大的困難。扮演演員和攝影師的雙重角色，似乎培養了兩種截然不同的個性。莫頓提到，他獨自完成了所有細節工作，有時一個角色需要拍攝九次才能獲得合適的底片。他想像 King Lear 或 Othello 在達到劇中最激動人心的時刻後，僵硬地停在鏡頭前，讓它「為所欲為」，然後回到暗房 (dark room) 中，努力克服顯影 (development) 的困難，卻發現底片失敗，需要重來一遍時的感受。

他對 Sir Herbert Beerbohm Tree、Mr. Charles Warner、Mr. R. G. Knowles、Mr. Carton、More-Park 以及許多其他演員和畫家深表感謝，他們始終以其興趣和樂意協助的精神鼓勵他。莫頓特別讚揚他的朋友 M. Gustav 的假髮製作技術，認為其達到了前所未有的完美境界，他自己的許多模仿效果都歸功於他的同情和技巧。

莫頓選擇了許多極端的類型作為插圖，有時會以略為誇張的方式呈現。他認為這樣可以涵蓋廣泛的範圍，使本書更具啟發性。學生將不難修改角色，或僅選擇某些特徵，甚至可以將不同化妝的特點結合起來，創造出新的類型。許多經過輕微修改的角色，將成為現代人物研究的寶貴參考。

除了展示化妝進程的圖片外，他力求在大多數情況下，呈現角色在劇中最具情感張力的時刻，並以舞台表演所需的方式進行照明。他這樣做，是因為他認為角色本質上是情感表達的媒介 (medium of emotional expression)，透過這種方式呈現，可以更好地體現角色塑造的敏感性 (sensitiveness) 和靈活性 (flexibility)，換句話說，偽裝絲毫沒有損害展現豐富面部表情的能力。

莫頓最初擔心難以找到足夠對比鮮明的類型來使本書有趣，但一旦開始，他發現「奇特生物」(quaint creatures) 的數量簡直無窮無盡。選擇變得困難，他只向大眾介紹了他親密認識的少數古怪人物。每個角色對他來說都是活生生的生物，讓他得以從其獨特的視角看待世界。這項事業是在他父親病重期間完成的，他確信，每個新角色的「來訪」所帶來的樂趣，都為他父親在世的最後時光帶來了慰藉。

"In making all the pictures in the book studies of my own head I was actuated by a number of reasons. The first and most important of which was the possibility of showing what a wide variety of distinctive types could be realised with the help of make-up by one man. If the book had been illustrated by a number of pictures of various actors, the student would have had to make in each instance certain allowances for the individuality of each performer. My desire was to present only one face under different disguises. I was also influenced by the fact that my own face was the one that was ever nearest to my hand—the one I was most familiar with, and also the one that I could take the greatest number of liberties with. Another reason was, that as the photographer who was to produce the prints, I could always depend upon the attendance of the model. I was sure that I could always induce myself to patiently pose before my own camera.

The taking of the photographs has been fraught with considerable difficulty. The playing of the dual rôle of actor and photographer seems to have cultivated two distinct personalities—personalities who I am sure felt the liveliest interest one for the other; in fact nothing ever came between us but the camera. I am moved less by pride than by a desire for sympathy when I say that single-handed I did every detail of the work. Sometimes it was necessary to photograph one character nine times over before a suitable negative was obtained. Can you imagine the feelings of Othello or King Lear who, after having worked up to the most intense moment of the play, paused rigidly before the camera, that it might do the worst, then on retiring to the dim ruby light of the dark room, still made up remember, to wrestle with the difficulties of development, found that when the negative was finished it was a failure and would have to be done again.

I feel a great debt of gratitude to Sir Herbert Beerbohm Tree, Mr. Charles Warner, Mr. R. G. Knowles, Mr. Carton, More-Park, and many other actors and painters who have unfailingly encouraged me with the bounty of their interest and their expressions of willingness to assist me with the work. I can best express the admiration I feel for the work of my friend M. Gustav by calling attention to the perfection of the wigs that appear in the following prints. I believe that he has brought wig-making to a pitch never realised before. Much of the effectiveness of my impersonations is in no small measure due to his sympathy and skill.

I selected for my illustrations, in most cases extreme types; sometimes presented in a more or less exaggerated manner. I felt that thus I might cover a wide area and make the book the more suggestive. The student will find but little difficulty in modifying a character, or if he requires only certain features, in selecting them. Or he may combine certain peculiarities of one make-up with the peculiarities of another, and thus produce an additional type. Many of the characters slightly modified will prove valuable as studies for modern personalities. With the exception of those prints where the make-up is shown in progressive stages I have striven to exhibit the character under the stress of one of the most emotional moments of the play, illuminated in a manner that would be desirable to its stage presentation. I have done this because I felt that a character was essentially a medium of emotional expression, and that by presenting them in this way the sensitiveness and flexibility of the characterisation might be better realised. Or in other words, that the disguise in no way impaired the ability to show a great variety of facial expressions. When I originally contemplated the work I feared that it would be difficult to get a sufficient number of contrasted types to make the book interesting, but I found, once under way, there was literally no end to the quaint creatures that clamoured to be noticed. It became a hard matter to select, and I have only introduced to the public a few of the odd personalities I have grown so intimately acquainted with. Each has been to me a living creature, who was able to let me see the world from his peculiar standpoint. I had such an impulse in the work, that at one time I felt that I should not be able to rest until I had exhausted all human creation. Aye, perhaps not even then, but would have to wend my way through all the animal kingdom, till I ended up by trying to make myself look like inanimate things such as icebergs or lumps of coal. The undertaking has not been altogether free from pathetic associations. It was done during the period of my father's last illness, and the pleasure that he derived from the visit of each new character cheered, I am sure, his last hours on earth."

第四章 材料 (Chapter IV: The Material)

談及材料時，莫頓認為化妝藝術或多或少與繪畫藝術相關，儘管兩者關係可能不那麼親密。它在許多方面類似於有色雕塑，但不同之處在於，演員的「雕塑」是活生生的。如果學生能請雕塑家為自己精確地雕塑一個半身像 (bust)，並將各種化妝品塗抹其上，他將會得到與自己臉上幾乎完全相同的效果，當然，除了無法改變表情。莫頓自己就有這樣一個半身像，他發現可以在這個「無言的對應物」上進行許多實驗，而無需擔心其皮膚或脾氣會感到「折磨」。

在畫家中，很少有兩人使用完全相同的材料，或以完全相同的方式工作，事實上，工作方法和工具很大程度上取決於個人氣質的差異。因此，莫頓希望讀者會認為他在接下來的內容中是以一種「刺激性」的方式提出建議，而不是「武斷地教條化」。

如果再次將其與繪畫相比，莫頓認為印象派學校 (impressionist school) 能提供最有價值的啟示。舞台巨大的前廳 (proscenium) 以及觀眾與舞台之間的距離，要求大膽而寬廣的處理方式。他曾見過一位演員追求如同精緻肖像畫般的細膩細節，儘管從觀眾席看，這種幻覺並沒有「絕對錯誤」，但他的許多努力卻「從未被實現」；事實上，只需四分之一的努力，他就能產生更具說服力的結果。

莫頓向有經驗的化妝師介紹自己的方法和成果。對於那些以完全「無偏見」(unbiassed) 的心態接觸這個主題的人，他建議從非常有限的顏色範圍開始，因為這樣可以大大簡化問題。

以下是可從任何化妝品供應商處購買的油彩 (grease-paints) 清單，包括各種肉色、黃色、棕色、黑色和胭脂紅 (carmine) 等。莫頓個人認為最有價值的是 2-1/2、3、10-13 號，以及黃色、白色和黑色，還有淺藍、深藍、黃色、湖藍棕 (lake brown) 和胭脂紅 2 號的眼線筆 (lining sticks)。他從不直接使用任何一種顏色，而是透過調和來產生理想的精確色調。左手手掌被證明是一個絕佳的調色板，其熱度能輕易融化顏料。

繪圖筆的筆尖可用於畫皺紋 (wrinkles) 和柔化陰影，但莫頓發現最合適的工具是小型塑形工具，類似於蠟塑工具。它不僅適用於塗抹顏色，還能巧妙地完成鼻膠 (nose-paste) 的塑形。

此外，還需要少量鼻膠（或莫頓個人認為效果更好的假髮膠 toupee paste）。一瓶酒精膠 (spirit gum) 用於黏貼假鬍鬚 (false beards) 和小鬍子 (moustaches)。各種顏色的皺紋髮 (crepe hair)。莫頓會自己混合粉底，以便調配出與任何化妝相符的色調，基礎是淺粉色，加入一點亞美尼亞紅土 (Armenian bole) 和黃色。一個好的粉撲 (powder puff)、一盒乾腮紅 (dry rouge)、一支兔腳刷 (hare's-foot)、一把剪刀和一把梳子也是必需品。凡士林 (Vaseline)、冷霜 (cold-cream)、可可脂 (cocoa butter)，或莫頓個人偏好的橄欖油 (olive oil)，用於卸妝，將完善整套裝備。市面上有各種精巧的錫製化妝盒，但任何小盒子都能勝任。莫頓旅行時總是帶著一個古董橡木盒子，它無疑曾被用作世代傳承的珠寶盒。

"When we consider the materials, we realise that the art of make-up is more or less allied to the art of the painter; although the kinship may not be of a very intimate character. It resembles in many particulars coloured statuary, with this great difference, that in the case of the actor the statue is alive. If the student were to have a bust of himself accurately modelled by a sculptor and were to apply the various articles of make-up to it, he would get almost precisely the same effects that he would get from his own face, minus, of course, the ability to change its expression. I have such a bust, and I find that I can do much of my experimenting upon my dumb counterpart without either its skin or temper ever resenting the torture. Though I do not think that many will care to follow my example in this particular I offer the suggestion as being of some value. Among the men who paint pictures you rarely find two who use exactly similar materials, or work in precisely similar ways, in fact methods of work and the tools used depend largely upon individual differences of temperament. So in the following pages I trust that it may be felt that I am suggesting in a more or less stimulating way, and that I am not dogmatising.

If we again compare it with painting we shall find that we get the most valuable hints from that branch which is known as the impressionist school. The enormous size of the proscenium, which is really only the frame of our canvas, and the distance which is ever between the spectator and the stage, demand great breadth of treatment. I have known an actor to strive for almost the same delicacy of detail as would be found in a highly finished portrait, and although the illusion from the front of the house was not positively wrong, much of his work was never realised; in fact with one quarter the effort he could have produced a result which would have been infinitely more telling. Doubtless many who read this book will have had a wide experience in making up, and will have cultivated preferences for one selection of materials or another. To them I submit my method and its results. To the man who comes to the subject with an absolutely unbiassed mind, I would suggest that he begin his work with a very limited range of colours, for in this way he will materially simplify the problem. The following is a list of the grease-paints that may be purchased from any dealer in make-up: No. 1, lightest flesh colour; 1-1/2, slightly darker; 2, pale; 2-1/2, medium; 3, slightly darker; 3-1/2, sunburnt; 4, a ruddy deep flesh colour; 5, bright yellow; 5-1/2, dark; 6, darker yellow; 7, brown; 8, Armenian bole; 9, dark sunburn; 10, brown; 11, burnt umber; 12, black; 13, reddish brown; 14, chocolate; 15, brick red; 16, dark brown; 20, white; carmine 1, 2 and 3. Of these the colours that prove most valuable in my hands are 2-1/2, 3, 10-13, yellow, white and black, and the following lining sticks; light blue, dark blue, yellow, lake brown, and carmine 2. I never use any one of these colours in its crude state, but by blending produce the exact shade that I deem desirable. The palm of the left hand proves an admirable palette; its heat readily melting the paint. A draughtsman's stub may be used for putting in the wrinkles and softening the shadows, but I have found the most suitable instrument for this work is a small modelling tool such as is used for modelling in wax. It has one end slightly curved and then brought to a knife-like edge. It is not only valuable for applying colours, but enables one to deftly finish the shaping of nose-paste. A small quantity of nose-paste, or, what I have found work better, toupee paste, will be required. A bottle of spirit gum for applying false beards and moustaches. Crepe hair of various colours. Powders I mix for myself that I may get a tint to match any given make-up. The foundation of this is of a light pink to which I add a little Armenian bole and yellow. Powders, however, of various hues may be bought which will save the trouble of mixing. A good powder puff, a box of dry rouge, a hare's-foot, a pair of scissors and a comb. Vaseline, cold-cream, cocoa butter, or my preference, olive oil, for removing the make-up will complete the outfit. Various elaborate make-up boxes of tin are on the market, but any small box will answer. The one that always accompanies me on my travels is an antique case of oak, and was no doubt used for generations as a receptacle for jewels. It has but one tray, which has sufficient space for the reception of the various paints. The lower part is reserved for crepe hair, powder and the other requisites."

第五章 顏色的運用 (Chapter V: On Applying the Material: Colour)

化妝的實際工作可分為「形狀」和「顏色」兩個部分。首先討論顏色。

一個人的膚色 (complexion) 或膚質，可能暗示其國籍或種族。它也可以暗示年齡：青春有其特有的清新，健康的中年人紅潤，而老年則伴隨蒼白。我們也能從膚色中生動地判斷氣質：悲傷、病態和卑劣的人通常面色蠟黃 (sallow)；快樂和慷慨的人則容光煥發 (brilliantly hued)。行業和職業也會給從業者帶來特定的膚色。僧侶在修道院中變得蒼白，士兵或水手則被陽光和風曬黑。

一旦確定了角色應有的膚色，我們便調和並塗抹顏料。例如，如果要呈現一位從外國戰役歸來的英國士兵，使用 3 號油彩 (grease-paint) 混合少量 13 號，就能產生所需的曬傷色 (sunburnt hue)。但必須記住，前額上方部分會被頭盔保護，因此會留下一條明顯的淺肉色線條，此處可用 2-1/2 號。而 2-1/2 號、黃色和少量棕色的混合物，則可以提供吝嗇鬼特有的蒼白膚色。

我們將 3 號油彩塗滿臉部，然後在手掌上用少量湖藍 (lake) 和胭脂紅 (carmine) 加深 3 號油彩的色調，再以斑點狀塗抹於臉部，便能營造出酗酒或過食者的紅潤膚色。莫頓舉這些例子，旨在說明首先確定角色實際膚色的重要性。這種塗滿全臉的顏料稱為「底妝」(groundwork)。

透過適當運用陰影 (shadows) 和高光 (high lights)，我們可以營造出不同的五官或臉部形狀的錯覺。始終記住，陰影的顏色幾乎總是與臉部其他部分相似，只是更深。這種加深可以用棕色、湖藍或藍色完成。例如，如果皮膚的主要色調是 2-1/2 號混合黃色和棕色，那麼加入更多棕色的相同混合物，就能得到陰影和皺紋所需的精確顏料，並且皺紋最深處的顏色最暗。相同的混合物，透過添加更多的黃色和白色，直到變得非常蒼白，則可用於高光。

病態者眼睛周圍和凹陷臉頰的陰影應帶藍色。少量湖藍和藍色混合底妝即可達到此效果。始終力求使顏色盡可能保持輕盈明亮；只有這樣才能避免顯得髒亂。最後，用適合底妝顏色的粉底大量定妝。

"The actual work of making up must fall under the two headings of Form and Colour. We will consider first COLOUR The colour of a man's skin, or his complexion, may be indicative of his nationality or race. For example, consider the distinctive colourings of the English, Italians, Japanese, Indians, or Africans. It may suggest his age. For youth has its own peculiar freshness; the healthy meridian of life is florid, while pallor comes with old age. We may also vividly realise temperament from the tint of the skin. The sad, the morbid, and the mean are usually sallow; the happy and generous, brilliantly hued. Trades and professions also dye their followers to their liking. The monk is bleached in the cloister, the soldier or sailor is browned by the sun and wind. Having decided on the complexion that will be characteristic of a given part, we mix and apply the paint. Are we to present an English soldier back from a foreign campaign No. 3 grease-paint, mixed with a little 13, will yield exactly the sunburnt hue that we desire. We must remember though that the upper part of the forehead has been protected from the sun's rays by his helmet, and so a distinct line of light flesh will remain. No. 2-1/2 will do for this. A mixture of 2-1/2, yellow and a little brown will provide suitable pallidness. Such as we might imagine would be characteristic of the miser. We cover the face with No. 3, and then deepening the hue of some more No. 3 on our palm with a little lake and carmine, and working this over the face in fleck-like blotches, we shall obtain the floridness of the man who drinks, or perhaps even eats too much. I give these few examples to show the importance of first deciding what the actual complexion of the character shall be. This paint, which is spread all over the face is called the groundwork. By a suitable application of colour, in the way of shadows and of high lights, we can give the illusion of a different form of feature or of face. Let it always be remembered that the shadow is almost invariably of a similar colour to the rest of the face, only darker. This darkening may be done with brown, lake, or blue. For example, if the prevailing tone of the skin is 2-1/2 mixed with yellow and a brown, the same mixture with considerably more brown added to it will give us exactly the pigment we require for the shadows and wrinkles, remembering always that the depth of the wrinkles will be darkest. The same mixture, lightened with additional yellow and white until it is very pale indeed, will give the high lights. The shadows round the eyes of the sickly and in their sunken cheeks will be bluish. A little lake and blue mixed with the groundwork will do for this. Always strive to keep the colouring as light and brilliant as possible; only thus may a dirty appearance be avoided. Finish up the make-up with plenty of powder of a colour that suits that of the groundwork."

第六章 形狀的改變 (Chapter VI: Form)

透過顏料繪製的高光和陰影所建議的形狀變化，在正面觀察時效果顯著。如果真的希望改變五官、臉部甚至整個頭部的形狀，就必須使用其他方法。

最簡單也最流行的方法是使用鼻膠 (nose paste)，或莫頓個人偏好的假髮膠 (toupee paste)。粗略塑造成所需的形狀後，黏貼到皮膚上，有時需要先用蠟燭的熱度稍微融化鼻膠表面。當鼻膠黏附在皮膚上後，用手指沾少量油塗抹，有助於後續的塑形。建模應使用手指和塑形工具仔細完成，直到看不出接縫，使其看起來像是臉部的一部分。

塗抹足量的底妝 (groundwork) 於真實皮膚和塑形部分，使整個臉部協調一致。鼻膠可用於改變鼻子的形狀，例如使鼻樑更突出，鼻尖更長，且長度可朝任何方向（向上或向下）延伸。鼻孔可以做得更豐滿，事實上，整個鼻子都可以被覆蓋，其形狀和大小完全改變。同樣地，前額和顴骨的突出部分也可以被塑形，下巴也可以增添。需要記住的是，所有這些獨特特徵都源於顱骨的骨骼結構，當我們希望改變形狀時，必須以不違背解剖學 (anatomy) 定律的方式進行。鼻膠還可用於模仿不悅的生長物，如疣 (warts) 和痣 (moles)。

頭部的整體輪廓可以透過假髮的形狀來改變。在決定這種改變時，最簡單的方法是將其粗略地想像成幾何形狀。頭部可以是圓形、方形或長方形，這種獨特形狀無論從正面或側面觀察都顯而易見。訂購假髮時，即使是非常粗略的草圖，對假髮師來說也大有幫助。

鬍鬚在改變臉部形狀方面也大有助益。下巴可以透過合適的毛髮排列來強化或修改。有時會在頸部佩戴用填充絲綢製成的巨大雙下巴，但這只有在下巴略帶鬍鬚時才具說服力。

上述改變幾乎都是在特徵上進行「增添」。現在我們將考慮如何進行「修改」。

莫頓第一次扮演黑人角色時，發現如果不用某種方法壓低自己非常突出的鼻子，就無法模仿該種族扁平的鼻子。他發現用手指壓住鼻尖，就能非常接近所需的效果。接著，他取了一段結實的縫紉絲線 (sewing silk)，先用一小塊羊皮 (kid) 保護鼻子皮膚，然後將絲線穿過羊皮，並在頭後方繫緊，便得到了完全符合要求的形狀。然後用鼻膠塑形鼻孔，並用深色油彩覆蓋，便足以讓當地人信以為真。

鼻子也可以透過將類似的線穿過鼻尖下方，並將其連接到假髮的上方部分，使其明顯向上翹起。在短距離內，這些線條並不明顯。

"The variation of form that may be suggested by painted high lights and shadows is effective enough when the full face is observed. For instance an almost white line on the bridge of the nose seems to give this feature additional prominence when the actor looks directly toward you, but on getting a view of his profile this illusion disappears, in fact the true shape of the nose is realised. If it is desirable to really alter the shape of a feature, a face, or even the entire head, another method must be used. The simplest and most popular is the application of nose paste, or what I personally prefer toupee paste. A sufficient quantity of this material is taken and kneaded into a soft mass. To do this it is sometimes necessary to warm it slightly. It is formed roughly into the shape desired and then stuck to the skin. Some make its adhesion more certain by applying a small quantity of spirit gum to the skin first. I have found it better to melt the surface of the paste in the heat of a candle before placing it into position. When the paste has adhered to the skin a little grease applied to it with the fingers will facilitate the subsequent shaping. The modelling should be carefully finished with the fingers and a modelling tool until no juncture is observable. In fact it should seem to be part of the face. Plenty of groundwork spread all over the actual flesh and the parts that have been built out brings the whole face into accord. The nose paste can be used for altering the shape of the nose either by making the bridge more prominent, the end longer, and this increase in its length may be made in any direction either up or down. The nostrils fuller, in fact, the whole nose may be covered, and its shape and size entirely changed. In a similar way the prominence of the forehead and of the cheek bones may be built out and additions may also be made to the chin. It is well to remember that all such distinctive features are due to the shape of the underlying bony structure of the skull, and when we desire to alter the shape we must do it in such a way that all the laws of anatomy are not ignored. The paste may also be used for imitating unpleasant growths such as warts and moles. The entire outline of the head may be altered by the shape of the wig. On deciding what this alteration shall be it is simplest to think of it as having roughly a geometrical form. A head may be round, square, or oblong, and this distinctive form is noticeable when either the full face or profile is observed. When ordering the wig even a very rough sketch will prove of great assistance to the wig-maker. The beard is also a great help in changing the shape of the face. The chin may be strengthened or modified by a suitable arrangement of the hair. A great double chin of padded silk is sometimes worn round the neck, but this is only convincing when the chin is slightly bearded. The foregoing alterations have almost all been in the shape of additions to the features. We will now consider how modifications may be made. The first time that I played the part of a negro I found that I should not be able to imitate the flattened nose of the race unless I used some method to depress my own very prominent organ. I found that by holding the tip of my nose down with my finger I very nearly got the illusion I required. I next took a piece of strong sewing silk, and first protecting the skin of my nose with a piece of kid, passed the silk over this, and tying this at the back of my head got exactly what I required. Then building the nostrils out with nose paste and covering it all with dark grease paint I look sufficiently negroid to deceive a native. The nose may be given a very decided upward tilt by passing a similar thread under the end of it. This thread is then joined to the upper part of the wig. At a short distance these threads are not noticeable."

第七章 化妝準備 (Chapter VII: Preparing to Make Up)

在準備化妝時，莫頓採用以下方法，旨在維護身體健康，並盡可能保持皮膚的健康。表演有時是劇烈的體力活動，因此應採取預防措施以防感冒。因此，進入化妝間後，他會更換內衣。接下來穿上緊身衣 (tights) 或角色所需的下裝。為了清除臉部可能在化妝過程中被揉進毛孔的灰塵，他會用純卡斯提爾肥皂 (Castile soap) 和溫水清洗，然後用柔軟的毛巾徹底擦乾皮膚。化妝時他會穿棉質浴袍 (dressing-gown)。

他的化妝台有一面大鏡子，兩側有兩盞電燈。化妝台上擺放著油彩 (grease paints)、假髮 (wig) 以及他為特定妝容所需的所有其他材料。首先，他會用少量油徹底按摩皮膚，填滿毛孔，防止其被顏料堵塞。接下來，他會用鼻膠 (nose-paste) 塑形任何需要增加立體感的五官。然後，用一層薄薄的 2-1/2 號油彩覆蓋臉部、頸部和耳朵。這樣做的目的是消除所有膚色不均勻之處，並確保隨後能獲得光滑、潔淨的底妝 (groundwork)，無論最終需要什麼顏色。

他戴上假髮，小心確保接縫處完美融合。然後，用他在手掌上調和好的合適底妝覆蓋臉部、頸部和耳朵。接下來是描繪寬大的陰影，例如凹陷的臉頰、太陽穴和眼睛周圍的陰影。然後，用較小的陰影強調嘴巴和眼睛。添加皺紋時要小心，確保它們位於自然會出現的地方。這可以透過實際皺起臉部並觀察線條走向來發現。然後塗抹高光 (high lights)。

如果要佩戴鬍鬚，則用乾淨的毛巾小心擦去將被假髮覆蓋部分的顏料，並在潔淨的皮膚上塗抹少量酒精膠 (spirit gum)。調整鬍鬚並按住，直到它徹底黏附。始終用鬆散梳理的皺紋髮 (crepe hair) 將鬍鬚與臉頰融合，這有助於營造自然的外觀。

為臉部上粉 (powder)。睫毛透過沿著眼瞼邊緣畫一條細線來加深，莫頓會用沾有融化顏料的橘木棒 (orange stick) 來完成。然後畫上眉毛。最後為嘴唇上色，便完成了化妝。

他偶爾會從鏡子前退後，以便獲得遠處觀眾可能接收到的印象。如果角色需要，手和手臂也會化妝。換好衣服後，他會站在全身鏡前進行最後的檢查，然後登上舞台。他無法確切說出自己給觀眾留下了什麼印象，只知道在許多角色中，他都無法認出自己。

化妝所需的時間當然會因角色塑造的複雜性而異。在排練時，當他第一次為角色化妝時，他會預留一個半小時，但當他對角色更熟悉後，時間有時會縮短到半小時。這種必要的匆忙對演員和化妝師來說都令人神經緊繃，變成一場與催場員 (call-boy) 的賽跑。「請半小時！」他喊道，聲音在樓梯間迴盪。然後你便開始瘋狂工作。當感覺只過了幾分鐘時，第二次警告：「請再十五分鐘！」便響起。然後你加快速度。當催場員喊「序曲」(Overture) 時，如果你還沒穿好衣服，你會帶著比禮貌更堅決的語氣告訴化妝師，你肯定會遲到。「第一幕開始」(First-act beginners) 意味著脾氣暴躁地衝向舞台，並在路上與最後的鈕扣搏鬥。一旦登上舞台，你幾乎總會發現有幾分鐘時間可以喘口氣。然後，被腳燈 (footlights) 的眩光溫暖著，你會忘記自己曾有過任何匆忙。事實上，如果你是一位好演員，你會忘記一切，除了你扮演的角色。

"In adopting the following method in preparing to make-up, I have been actuated by a desire to preserve the health of my body, and as far as possible the wholesomeness of my skin. Acting is sometimes such violent physical exercise that precautions should be taken against catching cold. Therefore on entering my dressing-room I change my underclothing. I next put on tights or any lower garment that part demands. To free the face from any dust that might be rubbed into the pores by the process of making-up I wash with pure Castile soap and warm water. Then thoroughly dry the skin with a soft towel. While making-up I wear a cotton dressing-gown. My dressing-table has a large mirror flanked by two electric lights. On this table the grease paints, wig and other materials that I require for a given make-up are arranged. First a little oil is thoroughly rubbed into the skin filling the pores and keeping them from being clogged with the paint. I next build up with nose-paste any features that require additional relief. Then the face, neck and ears are covered with a thin layer of 2-1/2 grease paint. This is done that all inequalities of colour may be eliminated, and enables one to subsequently get a smooth, clean groundwork, no matter what colour is desired. I put on my wig, taking care that the join is invisibly blended. The face, neck and ears are then covered with a suitable groundwork that I mix on the palm of my hand. The broad shadows are next introduced, such as sunken cheeks, temples, and shadows round the eyes. The accentuation, with smaller shadows, of the mouth and eyes is the next work. Wrinkles are added, care being taken that they are placed at places that nature would select. This may be discovered by actually wrinkling the face and observing where the lines fall. High lights are then applied. If a beard or moustache is to be worn, carefully remove the paint with a clean towel from the part that will be covered by the false hair and apply a little spirit gum to the clean skin. Adjust the beard and hold it until it adheres thoroughly. Always blend the beard with the cheeks with loosely-combed crepe hair as this will help the naturalness of the appearance. Powder the face. The eyelashes are darkened by drawing a thin line along the edges of the lids. This I do with an orange stick dipped in melted paint. The eyebrows are then drawn in. The make-up is finished by colouring the lips. I occasionally walk back from the mirror that I may get an impression such as a distant spectator might receive. The hands and arms are made up if the character demands it. The dressing is completed and I step in front of a full-length mirror for a final inspection prior to going upon the stage. What the precise impression is that I make upon my audience I cannot say, I only know that in many character parts I have been unable to recognise myself. The time that it takes to make-up must of course vary with the complexity of the characterisation. At dress-rehearsals when I make-up for character for the first time I allow myself one hour and a half, but this when I get more experienced with the part is sometimes reduced to half an hour. The hurry that this necessitates is nerve-racking both for actor and dresser and becomes a race with the call-boy. "Half an hour please," he shouts, his voice echoing up the stairs. Then you begin to work furiously. When what seems only a few minutes gone by, his second warning, "A quarter of an hour, please," is heard. Then you increase your speed. When the boy calls "Overture," if you are not almost dressed you tell your dresser with more decision than taste that you know that you will be off. "First-act beginners" means a bad-tempered rush for the stage, and the struggle with final buttons on your way. Once upon the stage you almost invariably find that you have a few minutes in which to regain your breath. Then, warmed by the glare of the footlights, you forget that you have ever hurried in your life. In fact, if you are a good actor you forget everything but the part you play."

第八章 卸妝 (Chapter VIII: On Removing the Make-up)

演出結束後，演員會回到化妝間，希望是滿載而歸。恢復真我並非難事，但一些建議可能會有幫助。首先脫下部分衣物，因為它們在卸妝的「髒亂過程」中無疑會被弄髒。先摘掉假髮 (wig)，然後是鬍子 (moustache)，接著是假鬍鬚 (beard)；小心地取下假鼻子 (false nose) 或任何其他立體塑形物，因為如果小心保存，它們可以重複使用。

接著，用少量油 (oil) 或其他偏好的油脂，輕輕軟化油彩 (grease-paint)，然後用毛巾擦拭。第一次清潔只能去除部分顏色，事實上，必須重複兩三次用油處理，直到所有顏料痕跡都消失。完成後，用溫水和純卡斯提爾肥皂 (Castile soap) 徹底清洗臉部，然後擦乾，確保所有顏料殘留物都已清除。如果天氣寒冷，可以在皮膚上塗抹少量冷霜 (cold cream)，然後稍微撲點粉，以保護皮膚。

"At the conclusion of the play you retire to your dressing-room, flushed, I hope, with success. To resume your real self is a matter of little difficulty, and yet it may be helpful to have a method suggested. Begin by removing parts of the clothing, as it unquestionably would be soiled in the dirty process of removing the make-up. First take off the wig, next the moustache, then the beard; carefully remove the false nose, or any other modelling in relief, for if they are preserved with care they may be used repeatedly. Next, with a small quantity of oil, or any other grease that may be preferred, soften the grease-paint slightly and remove it with a towel. This first cleansing will only remove part of the colour, in fact, the treatment with oil must be repeated two or three times before every trace of paint has disappeared. When this has been achieved, wash thoroughly with warm water and pure Castile soap; dry the face, taking care that every vestige of paint has been removed. If the weather is cold, a little cold cream rubbed into the skin, which is then slightly powdered, will protect it."

第九章 結語 (Chapter IX: In Conclusion)

或許沒有其他職業比舞台更迷人。當我們最不顧及自我時，是否最快樂？當我們完全實現一個與我們迥異的人格時，是否能達到絕對的忘我？此外，還有來自掌握力量的樂趣，這股力量能透過同情心來左右群眾。

對天生的演員來說，他的藝術是一種愉快的消遣。他對藝術和生活的觀察，都會增進他對角色和表達情感的能力。天賦較差的人則應不斷學習。世界充滿了裝幀奇特有趣的「孤本」。對化妝學生來說，裝幀的興趣不亞於內容本身。努力儲存對獨特類型的生動回憶；收集漫畫 (caricatures) 和版畫 (prints)，它們會提供最有力的啟發和幫助。如果你哪怕只具備一點點繪畫天賦，也要努力培養，因為顯然，會畫畫的演員會比不會畫畫的演員化妝得更好。

參觀畫廊，將它們變成「類型博物館」。莫頓表示，沒有哪個畫廊比國家肖像畫廊 (National Portrait Gallery) 更讓他感興趣。他在倫敦時，每週至少會去一次。在那裡，他能真切感受無數傑出人物的樣貌。如果劇本重現某個歷史時期，請試著欣賞當時最偉大畫家的作品，或者至少獲取其複製品。也許你所需的那個人物，正佇立在某幅昏暗的畫布中，等待你再次賦予他生命。

記住，每個歷史時期都有其獨特的類型。想想蓋恩斯伯勒 (Gainsborough)、委拉斯貴茲 (Velasquez) 的人物，霍爾拜因 (Holbein) 和丟勒 (Dürer) 的肖像畫。如果你要呈現一個異族人物，請努力賦予他民族特有的氣質，而不要以滑稽模仿 (burlesquing) 的方式侮辱其國家。莫頓認為，我們舞台衰落的跡象之一，就是我們力求嘲笑幾乎所有非本國產生的類型。如果需要呈現非洲人、美洲原住民 (Red Indians) 或日本人等深色人種，可以購買可靠的照片作為絕佳的指南。

如果你要描繪一個著名的歷史人物，請閱讀所有關於那個人的資料。或許你有幸能遇到他的親密朋友所寫的詳細描述。如果你所扮演的人物從事特定行業或職業，請嘗試結識一些這樣的人。以鑄造工人 (foundry hand) 為例，獲得許可參觀鑄造廠；去那裡好幾次，直到你真正理解這項工作的意義。你最終不僅會了解這些人的外貌，還會感受到他們的心情，並能暗示他們勞作的方式。

補鞋匠 (Tinker)、裁縫 (tailor)、士兵 (soldier)、水手 (sailor)、富人 (rich man)、窮人 (poor man)、乞丐 (beggarman)、小偷 (thief)。這句話傳達了多麼豐富的角色塑造戲劇；每個人都印有其行業或處境的烙印。一次又一次地回歸生活；讓你的身體和思想反映它。讓你的角色真實。議會 (Parliament)、法庭 (Court)、醫院病房裡，安靜的醫生從一張床走到另一張床。蒸汽船的甲板、公車內部——它們各自都是學校，可以學到寶貴的教訓。

除非你受到非常明確的身體或聲音限制，否則不要讓你的工作僵化。不要在每個新角色中重複自己。記住，世界上的類型是無限的；劇作家總是在努力向公眾呈現一些新角色。永遠增進你的知識，並記住工作是生命的巨大回報。感謝上天，你的辛勞是無止境的。

"Perhaps no other calling is as fascinating as that of the stage. Are we not happiest when we are least mindful of ourselves, and does not absolute self-forgetfulness come with a complete realisation of a personality that is foreign to us? Plus this is the pleasure to be derived from the knowledge of the strength possessed which enables the swaying of multitudes by sympathy. To the born actor his art is a delightful pastime. All his observations of art and life augment his knowledge of character and his ability to portray emotion. The less gifted should study perpetually. The world is full of odd volumes in strange and interesting bindings. To the student of make-up the binding is of no less interest than the matter within. Try to store vivid recollections of the distinctive types; collect caricatures and prints; they will be most suggestive and helpful. If you possess even only a slight talent for drawing, cultivate it assiduously, for it is obvious that the actor who can draw will be able to make-up better than the one who cannot. Visit picture galleries and turn them into museums of types. I know of no other gallery that interests me so much as the National Portrait Gallery. When I am in London I try to visit it at least once a week. There I realise what each one of a legion of distinguished men looked like. If a play revives some period of history, try to see some of the pictures of the greatest painters of that day, or at least get reproductions of their work. Perhaps the very man that you require is standing in some dim canvas only waiting for you to make him live again. Remember that each period of history had its distinctive types. Think of the people of Gainsborough, of Velasquez, the portraits of Holbein and of Dürer. If you are to present a man of an alien race, try and give him his national peculiarities without offering his country the insult of burlesquing them. I think it is a sign of decadence of our stage that we strive to heap ridicule on almost every type that is not a product of our own land. If any of the dark races are to be presented, such as Africans, Red Indians, or Japanese, trustworthy photographs may be bought which will prove an admirable guide. If you are to portray a well-known historical character, read everything you can about the man. Perhaps you will have the fortune to come across a detailed description by one of his intimate friends. If the man you represent follows any particular trade or calling, try to get acquainted with some such men. Take, for example, a foundry hand. Get permission to visit a foundry; go there several times, till the significance of the work is borne home to you. You will eventually realise not only what the men look like, but the way they feel, and will be able to suggest the way in which they toil. Tinker, tailor, soldier, sailor, rich man, poor man, beggarman, thief. What a drama of characterisation the line conveys; each is stamped with his trade or condition. Go again and again to life; let your body and brain reflect it. Make your types actual. A Parliament, a Court, a ward of a hospital, with its quiet doctor going from bed to bed. The deck of the steamer, the interior of a bus—they each become a school where valuable lessons may be learnt. Unless you suffer from very definite physical or vocal limitations, strive not to get grooved in your work. Do not repeat yourself over and over again in each new part that you play. Remember that the number of types in the world is infinite; that the playwright is always striving to present to the public some new character. Ever add to your knowledge, and recollect that work is life's great recompense. Thank God your toil is endless."

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