From the Neutral Mask to the Expressive Mask
From September 17 to 21
Duration: 20 hours
Hours: from 10:00 a.m. to 2:00 p.m.
Price € 110
The capacity of the theatrical mask to discover an expressive stage body is already more than proven.
Thanks to his implantation in universal theatrical pedagogy by Jacques Lecoq, the mask has acquired the importance that he himself intuited and developed in his Parisian school.
Today, their study has become an essential part of the journey of students in many schools thanks to its effectiveness as a motor of movement, action and its consequent emotion.
In this workshop Mask we propose a discovery of three types of whole mask (with mouth). The objective of this specific course is for the students to experience the importance of building a body available for the stage and, from there, to impregnate the psycho-physical transformation necessary for the construction of a character, regardless of style.
The mother of all the masks inspired by the noble mask of Jean Dasté (disciple of Jacques Copeau) J. Lecoq picked it up, redesigned it and renamed it with the help of an expert in handling leather and sculpture: Amleto Sartori, who later became the first and most important theater mask in the western XX century.
The neutral mask strips the actor of particularities, eliminates all parasitic movement and enters into the very concept of universality. The universal is the neutral; it is the search for suspension, physical action, desire and discovery. The neutral mask uncovers the true nature of the stage presence.
Larvas white, voluminous, with forceful forms that introduce us to the world of the character.
Master Lassaâd illustrated the nature of larval masks in this way: A positive story in which he affirmed that they were beings that would one day become human and another negative that claimed just the opposite … human beings degraded by evolution.
The larval masks, therefore, propose a gradual step, the student meets the particularity from clear and inspiring concepts, with very specific lines of action.
The Expressive Masks contain a characteristic information as precise as that proposed by a good dramatic text. They reveal defined characters through the lines, colors, asymmetries and volumes proposed by the mask. Porting any of them is a challenge of precision for the contemporary actor.
SUBJECTS AND CONTENTS
· Mime of action
· Energy levels
· Dramatic progression
· Specific mask technique: focus and frontality, ping-pong, work with the object, physical tempo, psychological tempo, asides, counter mask, comedy technique and drama technique.
· The awakening
· Launch of the stone
· The pier
· Transformation and presentation
· The larvae shepherd
· The object
· The partner
· The public
· Deepening in the character and the counter-character.
Specific exercises will be proposed in each subject block, students will bring objects and costumes and finally we will approach different ways of structuring a mask show.
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