Music & Performing Arts – B2 English Listening Exercise
Listening 1
You will hear a make-up artist called Chloe giving a presentation to trainees about the history of theatrical cosmetics and stage lighting. For questions 9-18, complete the sentences with a word or short phrase.
Theatrical make-up and lighting
Chloe explains that ancient Greek performers used (9)……………………… rather than cosmetics to show different characters.
During the Elizabethan period, safer actors used (10)……………………… to make their faces look exceptionally pale.
The invention of (11)……………………… in the 19th century allowed audiences to see performers’ faces properly.
Heavy make-up was needed to hide the (12)……………………… caused by new overhead lights.
A German actor created (13)……………………… because dry powders easily fell off performers’ faces.
Chloe points out that the use of (14)……………………… provided a safer and more reliable way to light the stage.
Make-up artists applied (15)……………………… to actors’ faces so they didn’t look washed out under blue lights.
Chloe says that modern stage cosmetics are designed to survive the (16)……………………… of dancing actors.
Make-up artists must work very closely with (17)……………………… to create a unified look for a character.
Make-up now needs to be applied flawlessly because theatre shows are frequently filmed with (18)……………………… .
ANSWER KEY
9 masks 10 chalk 11 gas lighting 12 shadows
13 greasepaint 14 electricity 15 warm colours
16 heavy sweating 17 costume designers 18 HD cameras
AUDIO SCRIPT
Chloe: Hello everyone, I’m Chloe, and I’m thrilled to welcome you to this entertainment make-up course. Today, we’re going to delve into the fascinating history of theatrical cosmetics and how the evolution of stage lighting systems completely transformed our craft.
When we look back at ancient Greek and Roman theatre, you might assume they used primitive paints to alter their faces. However, because the amphitheatres were so massive, facial expressions wouldn’t be seen anyway. Therefore, they relied entirely on masks to convey different characters and emotions to the audience.
Fast forward to the Elizabethan era, and actors were indeed applying substances directly to their skin. A pale complexion was highly fashionable. Many performers risked their health using white lead, which was highly toxic, but fortunately, the more cautious actors opted for crushed chalk to achieve that pale, ghost-like appearance.
The real turning point for theatrical cosmetics didn’t come from a new make-up product, but from technology. For centuries, stages were lit by candles, which were incredibly dim. However, the introduction of gas lighting in the early nineteenth century changed everything. Suddenly, the stage was bright, and the audience could clearly see the actors’ facial features.
While this brightness was fantastic for visibility, it wasn’t very flattering. The overhead positioning of these new lamps created harsh shadows under the eyes and chin of the performers. To counteract this, actors realised they needed to apply much heavier and more exaggerated cosmetics.
But there was a problem. The traditional dry powders they used would simply flake off during a performance. They needed something more durable. Although some experimented with natural oils, it was a German actor who famously mixed dry pigments with fat to invent greasepaint. This was a breakthrough, as it stayed on the skin perfectly, even under the intense heat of the stage.
As the nineteenth century ended, another technological leap occurred. Gas was notoriously dangerous and caused many theatre fires. The arrival of electricity finally gave lighting designers safe, consistent, and flexible control over stage illumination. This allowed for more subtle acting and, consequently, more refined make-up techniques.
This brings us to colour theory. You see, the colour of a light dramatically alters how make-up appears. For instance, a blue stage light can completely wash out pale skin, making an actor look terrible. To prevent this, make-up artists learned to apply warm colours to the performers’ cheeks and lips, ensuring they looked vibrant regardless of the lighting state.
Even with modern LED technology, performing on stage is tough. The lights can still be warm, and the choreography is demanding. If an actor is performing a vigorous dance routine, standard high-street make-up will just run down their face. Therefore, professional theatrical cosmetics are specifically formulated to withstand heavy sweating during a long show.
As trainees, you’ll soon learn that a make-up artist never works in isolation. During a production, you will naturally have discussions with the director about their vision. Yet, in practical terms, it is the costume designers you will coordinate with most closely. You must ensure the hair and make-up perfectly complement the outfits.
Looking to the future, the industry is shifting again. Many live theatre performances are now being broadcast directly to cinemas around the world. Because of this, stage make-up can no longer be overly exaggerated. It has to be utterly flawless due to the use of HD cameras, which ruthlessly expose any harsh lines or mistakes. It’s an exciting challenge, and one you’ll be fully prepared for by the end of this course!
Listening 2
You will hear a make-up artist called Liam talking about his career mastering special effects, such as artificially aging actors or simulating bleeding lacerations for film and theatrical productions. For questions 9-18, complete the sentences with a word or short phrase.
Liam – special effects make-up artist
Liam explains that a childhood interest in (9)……………………… sparked his passion for special effects.
Liam learned his fundamental skills by watching (10)……………………… rather than going to university.
Liam’s first paid job in the industry was working on a (11)……………………… .
When researching designs, Liam relies on (12)……………………… for inspiration.
Liam says that getting the texture of the (13)……………………… right is the hardest part of creating simulated wounds.
When aging actors, Liam finds that applying make-up to the (14)……………………… requires the most effort.
Liam’s preferred material for creating realistic skin movement is (15)……………………… .
Liam notes that make-up artists working in theatre must pay special attention to the (16)……………………… on stage.
Liam loves the moment an actor sees their new face in a (17)……………………… for the first time.
In the future, Liam plans to dedicate more time to (18)……………………… than to working on movie sets.
ANSWER KEY
9 photography 10 online tutorials 11 horror film 12 historical paintings
13 fake blood 14 neck 15 silicone
16 lighting 17 mirror 18 teaching
AUDIO SCRIPT
Liam: Hi everyone. I’m Liam, and I work as a special effects make-up artist. It’s a fascinating job where I master special effects, such as artificially aging actors or simulating bleeding lacerations for film and theatrical productions.
When I was growing up, most of my friends were obsessed with comic books, but my passion actually began with photography. I loved capturing interesting faces and manipulating shadows, which naturally led me into the world of make-up. When I finished school, I considered doing a degree in fine art. However, I didn’t have the money for that, so instead, I relied mostly on online tutorials to pick up the basic techniques. It’s amazing what you can learn from watching experts on the internet.
Getting into the industry is tough. My first professional gig wasn’t on a glamorous sci-fi movie like I’d dreamed of, but a low-budget horror film. It was exhausting work, but it taught me how to work quickly under pressure.
When I’m hired for a production, the first step is always research. To get inspiration for my designs, you’d think I’d look at anatomy textbooks. Actually, historical paintings are my greatest source of reference. They really show how skin sags and how natural light hits the face.
A lot of my work involves creating realistic injuries. I’ve spent hours practicing simulating bleeding lacerations for action scenes. People assume the shape or the depth of the cut is the priority, but I find the trickiest part is getting the consistency of the fake blood exactly right. If it’s too thin, it looks completely unbelievable on camera.
Another major part of the job is artificially aging actors, which is incredibly demanding. Everyone assumes adding wrinkles to the forehead takes the longest, but I find the neck is the most challenging area to make look convincingly old. You have to stretch and paint the skin in a very specific way.
In terms of materials, the industry has evolved massively. We still use a lot of liquid latex for basic effects, but nowadays, silicone is the material I prefer because it moves so naturally on the skin. It really allows the actors to express emotions without the make-up cracking.
Recently, I’ve been doing more work in live theatre. Transitioning from film to theatre requires adjustments because the audience is sitting so far away. While the costumes are important, you really have to consider the lighting, as it can completely wash out your make-up effects if you aren’t careful. The shading has to be much more exaggerated.
Despite the long hours, it’s an incredibly satisfying career. For me, the most rewarding moment isn’t seeing the final movie on the big screen. It’s that instant when the actor looks in the mirror and completely transforms into their character. It changes their whole posture and performance.
Looking ahead, I’m hoping to set up my own special effects studio. I’ll still take on film projects, but teaching is what I want to focus on over the next few years. I’d love to pass on my skills to the next generation of artists. Thanks for listening.