000			03542nam a2200541 i 4500
001			16585338
003			AE-ShPAA
005			20240528083555.0
006			m o d
007			cr |||||||||||
008			220805s2023 enk o 000 0 eng
010			_a 2022021817
020			_a9781350135895 _qelectronic book
020			_a1350135895
020			_a9781350135888 _qelectronic book
020			_a1350135887 _qelectronic book
020			_z9781350135871 _qpaperback
024			_a303306210
035			_a(DLC)ybp303306210
040			_aNhCcYBP _cNhCcYBP
042			_apcc
050		4	_aPN2069 _b.C37 2023
090			_aPN2069 _b.C37 2023 (LC)
100	1		_aCasey, Helen _c(Writer on theatrical make-up), _eauthor. _98300
245	1	0	_aWigs, hair and make-up : _ba backstage guide / _cHelen Casey.
264		1	_aLondon ; _aNew York : _bMeuthen Drama _c2023.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aNational theatre backstage guides
500			_a"Written by the Deputy Head of Make-Up and Wigs at the National Theatre, this book opens up a process that very few people will otherwise be privy to, giving perspectives on the preparation before a production and responsibilities during, as well as looking more widely at training, career opportunities and success. It does so through drawing upon some of the most adventurous and challenging productions mounted at the National Theatre and elsewhere. From designing and fitting wigs to managing lighting-fast quick changes, hair, wigs and make-up people are a major part of the creation of any theatrical production. Yet their role and contribution are much less discussed and written about than elements such as writing, directing and acting, despite being critical to defining and executing the aesthetic of a production. Their involvement requires a great deal of research and creative thinking; collaboration with other members of the creative team; specific knowledge of wig-making and measuring, make-up design and application; and managing all of these elements during the course of the evening. Often required to cover all three elements (and sometimes more), the designer looking after hair, wigs and make-up needs to bring to the production multiple areas of expertise and is a core part of the creative team"-- Provided by publisher.
501			_aP.B
505	0		_aStarting out: training, employment and kit -- Design and research -- Wig and postiche making -- Wig and hair dressing -- Make-up -- Prosthetics and stage effects -- Staging -- Conclusion.
506			_aAccess restricted by licensing agreement.
533			_aElectronic reproduction. _bLondon _nAvailable via World Wide Web.
588			_aDescription based upon online resource; title from PDF title page (viewed Feb 20th, 2023).
590			_aAccess is available to the Yale community.
610	2	0	_aNational Theatre (Washington, D.C.) _98301
650		0	_aTheatrical wigs. _98302
650		0	_aTheatrical makeup. _98303
650		0	_aHairdressing. _98304
710	2		_aBloomsbury (Firm) _98305
776	0	8	_iPrint version: _aCasey, Helen _tWigs, hair and make-up _dLondon ; New York : Meuthen Drama 2023 _z9781350135871 _w(DLC) 2022021816
856	4	0	_yOnline book _uhttps://yale.idm.oclc.org/login?URL=https://doi.org/10.5040/9781350135901?locatt=label:secondary_bloomsburyCollections
942			_2lcc _cBK
946			_aDO NOT EDIT. DO NOT EXPORT.
999			_c4724 _d4724