Verb to describe character in this scene

During this scene there isn't a lot of verbs describing Fraulein Kosts actions, although if I were to come up with one I would say that 'arguing' would use to describe Fraulein Kosts actions in this scene.

This is because the main part of the scene is where she is arguing with Schneider. I think that this could be a front, to hide her deperation - if she can't bring the sailors back then she will eventually have nowhere to live.

I think that I could translate this into hair and makeup by making her cheeks look more flushed - as this usually happens when you're angry and arguing with someone. She could also be quite embarrassed that she has been caught with a sailor by schneider, which could cause this as well. Her hair could be a bit out of place and messy, to make her look more flustered.

What does your character want?

Fraulein Kost wants to be able to bring German sailors home to where she is living without Fraulein Schneider getting angry at her and causing a fuss.

She wants this now because if she can't give favours to sailors for money, then she won't be able to pay Schneider the rent; "No sailors, no rent, I move." 

This would mean that she would have to move out of the lodgings, and wouldn't have enough money to find somewhere else - as Schneiders place is fairly cheap for the economical situation. She would be homeless, and wouldn't have anywhere/one to turn to.

This shows that even though Kost seems angry in the scene, it is more out of desperation and frustration, as in her eyes she is just trying to make a living in the hard economical situation which Berlin is in at this time.

From thinking about these factors, it has made me realise that Kost's life is a mess - she has turned to prostitution to make a living. This would influence the way I would create her hair and makeup - maybe portraying these factors into it. For example her hair could be quite ratty and messed up, her lipstick smudged, mascara under her eyes.

Where have they just come from?

"As the lights come up, Fraulein Kost is entering from the hallway with Second German Sailor. He pinches her, and she screams."

From this stage direction you can clearly see that Kost has been out with one of the German sailors, who she gives favours to for money.

From this you can easily get an impression of the kind of relationship they have, what they have being doing and what they are intending to do once they are in Kost's room. They clearly have a flirty relationship, and I get the impression that she has come in quite giggly and happy.

"Fraulein Schneider quickly emerges from her bedroom. She is all dressed up. She is also furious."

This quickly changes when Schneider comes out of her room and orders the sailor out of her house. They quickly get into an argument, which leads to Kost saying she is going to move out if Schneider doesn't let her bring Sailors back, as she won't be able to pay the rent.

In terms of hair and makeup, I think that her cheeks would definitely be quite flushed - she has just come from outside into a warm environment which would cause them to flush slightly, she's flirting with a man, and then getting into an argument causing her to get angry. These are all factors which would cause her cheeks to become redder. I think her hair wouldn't be perfect, especially after being outside - with the sailor.

Where/when are they?

The scene is set in Fraulein Schneiders living room.

"The room is furnished with dull and heavy furniture. There is a sofa with an end table. There is also an old gramophone."

She has just come home from outside, so her cheeks would be slightly flushed from the cold. It is early evening.

Chosen Scene

Act One - Scene Seven 

I have chosen to recreate Fraulein Kost in the scene where she returns home with a German sailor, when Fraulein Schneider comes out of her room to confront her. 

"The room is furnished with dull and heavy furniture. Ther is a sofa with an end table. There is also an old gramophone. 

Upstage are doors that lead from the living room to the private rooms of Cliff, Herr Schultz and Fraulein Kost. Another door leads to Fraulein Schneider's bedroom. Off the living room is a hallway leading to the main door of the flat. 

As the lights come up, Fraulein Kost is entering from the hallway with Second German Sailor. He pinches her, and she screams. 

Fraulein Schneider quickly emerges from her bedroom. 

She is all dressed up. She is also furious."

I found that there wasn't a lot of scenes that included Fraulein Kost to choose from, but I chose this scene because I think it shows her character well. It clearly shows that she is so desperate for money that she is turning to prostitution to earn a living just to pay the rent. In the scene she says "No sailors, no rent. I move." This is saying that without sleeping with sailors for money - she has no other way of making money. This shows her desperation, and how her life is a mess. 

Who is my Character?

For my historical character I have chosen Fraulein Kost. I have decided to choose her as after researching into 1920/30s Berlin and Anita Berber I thought that it would be really interesting to develop a character who has been heavily affected by the financial struggles which hit Berlin at this point - I think that her profession shows this well.

Fraulein Kost is a prostitute who lives in one of the rooms in Fraulein Schneiders house. She earns money by offering favours to sailors.

In 'Goodbye to Berlin' she is described as:
• a 'blonde florid girl with large silly blue eyes',
• 'She is plump but has a good figure'.
• 'She walks along the line for her living'.
• 'A common prostitute'.
• 'do you know what she used to be? A servant girl! And then she got onto intimate terms with her employer and one fine day, of course, she found herself in certain circumstances…And when that little difficulty was removed, she had to go trot-trot…'

She isn''t described much in the book but from these descriptions I imagine her to be a pretty woman slightly older than Sally, as in the script she is decscribed as being 'thirtyish'. I imagine her to be what Sally could potentially end up like, just trying to earn money during the hard financial times after the World War.

Character Building

Emcee in the film 'Cabaret'

To help choose which characters I am going to base my historical and contemporary looks on, I have done some character oveviews of the main characters in Goodbye to Berlin.

Emcee
• Master of ceremonies.
• Gender questionable cermonies.
• He makes extreme sexuality appealing, inviting and entertaining.
• His character shows a more contemporary America.
• He wears a lot of makeup - almost resembling a clown or Shakespearian fool.

http://www.cityguideny.com/blogs/index.cfm?blogid=1297&start=2441
20/10

Liza Minelli as Sally Bowles in Cabaret

Sally Bowles
• British Cabaret singer at the kit kat club.
• Played by Jane Horricks, Liza Minelli.
• Wears green nail varnish.
• Usually has an unusual fringe.
• Eyes are exaggerated.
• Would have appealed to men at the time.
• Lives a care-free lifestyle

http://www.cabaret-berlin.com/?p=100

Michael York as Cliff in the film Cabaret 

Cliff Bradshaw
• Novelist
• English teacher
• Closeted gay man
• In Cabaret he represents Christopher Isherwood

http://cinema-fanatic.com/2013/02/04/oscar-vault-monday-cabaret-1972-dir-bob-fosse/



Frl. Schroeder/Schneider
• Landlady renting large rooms in her flat
• Described in Goodbye to Berlin as 'shapeless but alert', and 'she waddles from room to room, in carpet slippers and a flowered dressing gown pinned ingeniously together, so that not an inch of petticoat or bodice is to be seen.'
• Rich background, but fallen in hard times.

http://www.playbill.com/news/article/tony-roberts-and-blair-brown-are-cabarets-new-schultz-and-schneider-sept.-2-115125

Christine Sherrill as Frl. Kost 

Frl. Kost 
• Offers favours to sailors.
• Strong sexual comfort and demanding nature
• Described in Goodbye to Berlin as a 'blonde florid girl with large silly blue eyes'. 'She is plump but has a good figure'. 'A common prostitute'.
http://www.broadwayworld.com/chicago/article/Photo-Flash-First-Look-at-Megan-Sikora-and-More-in-Marriott-Theatres-CABARET-20140117

Supracolour Practical

Products:
· Supra colour palette

Equipment:
· Brush kit, can also use art brushes.
· Disposable sticks to scrape out the Supracolour
· A palette to mix colours

To create this makeup look we had to choose a painting by Otto Dix to recreate.

Aquacolour Practical

Products:

· Aqua-colour palette
· A bowl of water
· Foundation, powder etc if creating a base.

Equipment:
· A variety of brushes – art brushes are best.
· Disposable sticks to scrape out the aquacolour.
· A palette to mix colours.

Technique:
· Either create a base on the face first or leave the face bare.

· Use the disposable sticks to scrape out the colours you have chosen onto your palette/hands.

· Use the brush to mix water into the colour to create a paint.

· Apply the colour onto the face creating lines and shapes.

· Repeat with each colour – ensuring that you use a different brush for each colour.

· Layer up the colours creating different lines, shapes and textures, to create an abstract type painting on the face.

· Fix the creation in place with fixing spray.

We did this practical to experiment with how the use of different lines, shapes, colours and textures on the face can manipulate the features on the face. 

On one side of the face I used lines and colours to emphazise the features - for example I put the darker shade of blue underneath the cheekbones to accentuate them. 

On this side of the face I have crossed the lines in different directions to make the face look odd. I have also put darker tones in areas where there should be light tones. 

Goodbye to Berlin by Christopher Isherwood

First edition cover. 

I have been reading the book Goodbye to Berlin by Christopher Isherwood, to help me with my research as the muscial and film Cabaret is based on the characters and story in this book.

I watched the film Cabaret before reading the book - so I found it interesting the differences between the characters from the film to the book. I prefer the characters in the book - I feel like they are more realistic - and more like how I would have imagined them to be. For example in the book Sally Bowles is English - which I think suits the character a lot more. If I chose Sally to be my final character I would definitely use the English version, I think it would be interesting to use this as inspiration for my design.

Isherwood based Sally on a real actress called Jean Ross, who he met in the early 1930's and shared a lodging with.

When Sally first appears in the book, this is how she was described by Isherwood: "I noticed that her fingernails were painted emerald green, a colour unfortunately chosen, for it called attention to her hands, which were much stained by cigarette-smoking and as dirty as a little girls. She was dark enough to be Fritz's sister. Her face was long and thin, powdered dead white. She had very large brown eyes which should have been darker, to match her hair and the pencil she used for her eyebrows." (Goodbye to Berlin, pages 34-35)

This book also influenced the BBC drama 'Christopher and his kind', which I have also watched to help my understanding of Berlin and the characters in the story. In this drama I found it really interesting how they portrayed Sally - in terms of her makeup and hair - and her personality. I feel that she wasn't as outrageous and didn't show so much extreme behaviour like she did in the film - which I preferred as I think it makes it seem a lot more realistic.

Sally Bowles in 'Cabaret'

Jean Ross in 'Christopher and his kind'

http://www.telegraph.co.uk/culture/tvandradio/8388899/Christopher-and-his-Kind-in-pictures.html?image=4
http://serich1217.tumblr.com/post/42347496278
http://www.morningstaronline.co.uk/a-52c7-Jean-Ross-the-real-Sally-Bowles#.VEUqGUtYTwI
16/10

Anita Berber

Anita Berber was a famous icon in the 1930's, who spent most of her working life in Berlin. At the beginning of her career she featured in silent films, toured around Germany and Austria, was on the cover of glossy magazines and became a sought after model.

Otto Dix painted this iconic portrait of

 her called ‘The Dancer Anita Berber’. 

A she became more and more famous, her personal life started to appear in the Berlin newspapers and caused some controversy. There were rumours of lesbian affairs, S&M, cocaine, and spending fortunes on fur, shoes and jewellery. "She would spend her nights touring the hotels and elegant restaurants of the city, wearing nothing but a sable coat, and with her pet monkey around her neck along with an antique brooch packed full of cocaine." http://www.cabaret-berlin.com/?p=365 15/10

She also started to become a big cabaret star, and this flourished more than her film career as she had begun to become extrememly troublesome and unrealiable to work with because of her partying lifestyle.
Otto Dix painted this iconic portrait of her called ‘The Dancer Anita Berber’.

I have found it really interesting researching into Anita Berber, as I feel that it has given me a really good insight into what it was like to live in 1930's Berlin as a famous showgirl. Berber was a real person - so I think that it gives me more of a realistic view into what it was like to have this kind of partying lifestyle. This will also help me when designing my final makeup design - particularly if I use Sally Bowles as my chosen character - as I feel that this is the kind of lifestyle which she tried to have.

1920s - 1930s Berlin

Berlin in the late 1920's/30's was known to be the 'party capital' of Europe during this period. This was mainly because everyone was trying hard to forget the horrific times of the first world war. The whole German Empire had collapsed and it was replaced by Weimar Republic - which brought a short priod of democracy to Germany. 

Before Adolf Hitler seized power and the start of the global economic downturn in 1929 Berlin was one of the main places to go to party. This was because of the many bars, restaurants, cabaret theatres, and huge cinemas that filled the city. Also Berlin was known for its sexual freedom - and most of the clubs in Berlin tried to satisfy nearly every sexual fantasy. The people who supplied these services were mostly young people and their families who had lost all of their savings during World War 1, trying to make hard money to survive.  

The rize of the Nazi party was one of the key things which happened in this era. Hitler hated the freedom and everything which was occuring in Berlin during this time. The Nazi's showed their hate towards the minorities in Germany - particularly the Jewish. They rose to power by promising job prospects, and by circulating magazines and newspapers and holding torchlight parades. 

http://www.thenational.ae/news/world/europe/berlin-in-the-1920s-anything-but-calm-before-storm
http://www.eclectecon.net/2013/03/cabaret-berlin-in-the-late-1920s-early-1930s.html
http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=4201
14/09

Summer Project

Over the summer we had a summer project titled 'Find and Seek'.

I researched into colour symbolism in Chinese opera mask art and Chinese tradition, and then watched the film 'Memoirs of a Geisha'. I took various film stills throughout the film, and analysed the colour in them relating back to my research on colours in Chinese tradition.

I also read the book 'If its purple, someones gonna die' by Patti Bellantoni. I found this really interesting, and think that it will be really useful in the Goodbye to Berlin project - especially as there is a section about the colour used in Cabaret.

My full summer project is on the link: emilyguyonfindandseekemyguyon.blogspot.co.uk

Project Introduction

Our first second year project for Make Up and Hair Design for TV and Film is titled 'Goodbye to Berlin', and is based around Cabaret.

To start off the research for this project, we need to read the book 'Goodbye to Berlin'. This is a 1939 novel by Christopher Isherwood set in Weimar Germany. In 1966 the book was then adapted into the musical Cabaret, and then the film version of Cabaret in 1972. 

Before beginning this project I had never watched Cabaret or read Goodbye to Berlin, although after the first lecture I am really excited to begin this project, and to start researching more into the main characters in the story.

I am quite nervous about relating my looks to 1920/30's Weimar Berlin - as this is a subject which I have no knowledge about. I am confident that after doing a lot more research into it will help me come to a better understanding of this era.

The only part of the 1920's which I was familiar with are the art movements of the time - surrealism and art deco. Art deco was the main style of architecture and design - and it originated in Europe - which is relevant to Weimar Berlin. Expressionism and Surrealism were also popular art movements which originated in Europe - although they are quite different to Art deco. For example they involved elements of surprise and unexpected juxtapositions, whereas Art deco used pure and geometric forms.