FEATURES OF ANTITHETIC MAKEUP IN ACTING PRACTICE (ON THE EXAMPLE OF T. BURTON’S FILM “EDWARD SCISSORHANDS”)

Abstract

To reveal the role of make-up art in stage and cinematic images in situations when make-up is performed in an antimimetic manner, that is, as a means of creating semantic contradiction (using the example of T. Burton’s film “Edward Scissorhands”), and also to outline the acting challenges associated with visual inconsistency. Methodology. Given the interdisciplinary nature of the problem, the study is based on the junction of individual components from the methodology of cultural studies and art history. Cultural understanding (which dominates the work) is carried out through the understanding of semiotic and aesthetic constructions of signs and symbols, and also takes into account the activity aspect, which involves understanding this process in the system of clarifying the creativity of makeup artists. At the same time, hermeneutic analysis is used, focusing on issues that encompass the interpretation of the meanings of makeup art artifacts. The scientific novelty lies in highlighting the visual component of cinema as a means of dramatic “deception”, which is able to enhance the impression on the viewer, create dissonances of perception and encourage a deeper understanding of the dramatic plot. The work also analyzes acting challenges, when the visual inconsistency between the character and his inner essence becomes an additional “obstacle” to actual reincarnation and involves the actor’s complex work on his own role. This publication offers a look at the actor “in a mask”, both literal and metaphorical – its perception and emotional state. Conclusions. The work reveals the role of makeup as an antiillustrative tool, where the visual image does not correspond to the inner content of the character. The main motives of this construct are clarified, where antithetical makeup is considered as an artistic technique aimed at critical perception of the image, distancing from literal reading, which becomes an additional stimulus for turning to cultural codes, ideas and meanings. It is established that cognitive dissonance increases emotional involvement and forces to rethink stereotypes regarding the ratio of the internal and external components of the image. It is proven that this artistic strategy involves certain challenges for the director and the performer of the role. The nature of a possible solution to the above strategies is presented on the example of T. Burton’s cult film “Edward Scissorhands” (chief makeup artist Vee Neill, performer of the main role Johnny Depp, 1990). Thus, the study of such complex visual constructions through the prism of cultural studies and art history allows us to understand how the artistic techniques of constructed images influence the perception of ideas, values, and socio-cultural narratives.