Makeup and Mask as Structural Components of the Stage Image

The purpose of the article is to identify the features of makeup and masks in different genre stage images. The research methodology involves empirical, cultural and historical, anthropological methods to understand the use of makeup as a system of actions and means aimed at a cardinal transformation of the external manifestation of a person. The author of the article applies a humanistic approach to the study of cultural phenomena using the data from the field of anthropology, ethnology, history of culture and sociology. The scientific novelty consists in highlighting the functional features of makeup to determine its dual nature: makeup as an element of the character’s external drawing and makeup as an influence on the artist, which contributes to a versatile idea of the stage image. Conclusions. The article reveals that the mask and makeup as a means of artistic expression convey to the viewer the most significant personal characteristics of the character. The article describes the special features of the representation of the human face as one of the most important and complex tasks of art. Different types (literature, music, fine arts, cinema, theatre) have their own particular means of representation. It has been found that a person’s face, facial expressions, facial makeup and mask are the main means of theatrical expressiveness, a kind of business card of an actor. The article demonstrates that after the emergence of cinema and the possibilities of a close-up, the features of acting have undergone significant changes. The article highlights the aesthetics of makeup to characterise the inner essence of the image