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ROSE TAPLEY
1x telling my readers about the care of the skin, I will speak of nothing that I have not personally done, or else has been vouched for by some of my friends in the profession. Nor can I set myself up as an authority. I know, however, that a clear, if not brilliant, skin is almost a stage necessity, and this applies equally as emphatically to the art of photodramatics. Several years ago, when most scenes were photographed on the twelvefoot line or even as deep as eighteen, where groups were used, complexion amounted to little. As long as the players could carry out the plot by gesture and action sufficient for the day was the evil thereof. But now has dawned the day of the close-up — of minute facial play, where even the texture of the skin, veins of the eyes, and the conformation and lustre of the teeth are under microscopic exposure.
I have been asked to write particularly upon the importance of clear skin in the Motion Picture field, but I cannot help but add how very important it is, too, upon the stage. Of course, you must
Putting Good Looks To Work
What It Means to Screen Players to Have and Retain a Clear Skin
By ROSE TAPLEY
Editorial Note: Realizing the importance of good health and good looks in the Motion Picture dramatic ."ield, as well as upon the stage, we announce a series of articles by leading players, each devoted to a topic they consider of the most importance and upon which they have specialized. Following Miss Tapley's article will appear interesting and exclusive talks by well-known stars on hygiene; the care of the teeth; the preservation of the hair; eye treatment for stage and general use; the culture of the hands; and many other interesting articles that can well be taken to heart by the players as well as bv our readers.
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realize that the real tint of a skin will not reproduce on the screen. Brunettes often appear to be a pallid white, and vice versa. The make-up of the player and the imagination of the audience usually bring about the proper effect. If a girl's hair is decidedly blonde, or, on the other hand, decidedly dark, the audience will promptly gift her with a proper shade of complexion.
This use of the imagination is as it should be, for without imagination on the audience's part, both for the idealization of the types portrayed as well as for their emotions, photodrama would f^ll quite flat. But now we come to some v that is difficult to overcome, and wlit.. no effort of the imagination will comoensate for its weakness. A flabby or bl aiished skin put to the test of the close-up can hardly be disguised. In my long career upon the stage I was always careful to see that my make-up box was ocked with only the best grades of prep , s.
Cheap grease-paints in time will ru any 4 skin, and this may be said equally as strongly of face-washes, creams and soaps. I felt that I should make more or (Continued on page 158 )