Make-up and Shame: the Boundaries of the Mimetic in Culture

The article explores the transformation of the phenomenon of shame in the context of makeup and theatrical makeup usage, examining it through the lens of socio-cultural, philosophical, and aesthetic theories. The study demonstrates how makeup, as a tool of self-presentation, simultaneously conceals and reveals shame, shaping new forms of intersubjectivity. In modern society, makeup serves to smooth out social markers (such as age), becoming a communication tool. However, its excessiveness may signify a rejection of shame, replacing it with narcissistic self-expression. Drawing on the theory of mimetic and non-mimetic vision, the article shows that while makeup initially imitates naturalness, in its extreme form, it turns the gaze inward, provoking shame. Theatrical makeup creates an asymmetry in intersubjectivity, transforming the face into a challenge rather than a call to responsibility. In the contemporary world, makeup functions as a means of regulating distance: it simultaneously displays and masks shame, turning it into a social spectacle. Theatrical makeup is most productively understood as a form of shame for others rather than for oneself, marking the beginning of the introspection necessary for intersubjective intercultural dialogue. Often, makeup becomes not a mask but the last layer of flesh, reflecting a fear of the authentic self. Except in cases of shamelessness where makeup is blurred and destroyed, it does not alter personality but influences how others perceive it, becoming part of identity construction.