The mask is a versatile object. For protection (industry; fencing), for prevention (infection), for disguise or grotesque effect (to amuse or terrify), for replication (humour, satire, identification), it has many forms. In secondary drama, it can be the teacher’s friend. It helps narrate tales, sets chilling scenarios, heightens comedy.
Teenage girls often dislike some kinds of masks, notably clown faces and heads. Many of both sexes dislike the claustrophobia of masking, so a simple, symbolic mask on a stick serves some of the learning potential.
Masks for History
Masks have been around for thousands of years, evidenced in wall paintings, pottery and ancient documents, often embedded deep in ritual. They have been, and still are, seen in theatre, dance, opera performances; initiation rites/ceremonies and as works of art. Studying Greek and Roman theatre history as origins of western tradition, for instance, is enhanced by simple masks.
Japanese Noh theatre masks are generally neutral in expression. Actors’ skills must bring them to life in an often subtle way. That’s a hard one sometimes for youngsters, but worth the effort. There are mask traditions in ritualistic theatre across China, India, Java, Tibet and Sri Lanka (Ceylon until 1972).
Ancient Egyptians used mummy masks, with the death mask becoming a physical representation of the belief that the soul needed a safe journey into the afterlife. Similar cultural tradition is found in Ghana and Zambia. They are widespread across the history of peoples in both North and South America.
The commedia dell’Arte originating in the 15th-17th centuries in Italy relied exclusively on physicality and acrobatics for highly developed improvised humour. Their masks became identified with particular characters, so they’re worth teaching in theatrical antecedents.
Masks for Religion
In a multicultural society, it’s impossible to teach drama without being aware of the impact of different religious values on teenagers. Theatrical links with religion are proved in most cultures, from Egyptians, Celts, Greeks, Slavs. Both pagan and Christian roots are evident in many festivities. Halloween, witchcraft trials, Mardi Gras, Notting Hill Caribbean festival have easily accessible images for young people.
Mask origins/functions are complex and varied. Character disguise or dramatic effect are fundamental to drama and a creative opportunity. A mask does not have to be thought to embody a spirit, but it will always transform the wearer, psychologically or in a spiritual sense.
The impact on audience, either the class or a full one, is incalculable. The shock that an Artaud style treatment gives a performance piece, is magnified if the group wear appropriate masks. In simple terms, pose the questions: what lies behind the surface of the person? Of our society? Why do we hide behind masks?
Highwaymen and thieves, rapists, terrorists, kidnappers, the disfigured, the robotic, the psychologically disturbed, the clinically insane, Ku Klux Klan, executioners, purveyors of magic and dreams are all well served by masking. Toby Wilshire of Trestle Theatre Company said: there is a magic surrounding masks, but I believe it’s in the audience perception of the mask, not the mask itself’.
Others see the mask as a form of metamorphosis/transubstantiation for the wearer, not just putting up a face block. There is a difference between controlling the mask and being controlled by it. Students should grasp that. They have to work harder physically to convey expression and meaning when masks take away their facial and vocal communication.
Masks for Devising
Drama Teaching has a simple starter student mask lesson. A Trestle schools mask workshop uses the following or related exercises. Get students to imagine a piece of string attached to the nose is leading you round the room. It’s in charge, it leads wherever. ‘Now you have become a creature that is all nose. What are you like?’
Ask them to make a face not their own, that they can hold. Find a voice for the face; then a body for the face and voice, then simple movements for face, voice, body. This whole creature is a mask. Then in pairs, as these ‘characters’, improvise a tea break at work, or a job interview. Exaggeration, even comedy will ensue.
Next, build the idea that a character wearing a mask must always be facing audience directly. experiment with paired scenes, using mime only, but where they both face front. Periodic discussion is essential to carry them with you. The dead-pan, cheap, thin plastic type masks could now be used to repeat scenes just made up.
Then, still in neutral masks make scenes sinister, a nightmare. Reduce lighting if possible; add music. Already the power of mask and setting should be apparent.
They are ready to try exaggerated character masks, like a set of Trestle ones. Lay masks on floor, let a small group wander around them, then choose one each. Never let them mask-up facing audience; turn backs and spin, using the character in the face to determine posture.
Movement must be bigger than life. Build a family tableau, add narration, let each one add a verbal caption. Get audience to contribute comment. Replace performers one at a time from audience, so same face now has a different body. It’s all about trial and error. When the face doesn’t move, people look more at the body.
Masks for Depth
It may be that a little taster is all a class can take. However, many go deeper. Trestle masks are expensive, but worth every penny and could supply ideas for a whole term. Let students’ imaginations have free rein. Some will be ready to try other masks then.
The clown is both comical and spooky, which is ideal for teenagers. The hospital mask, the politicians’ caricature, animal heads, gas masks and respirators are excellent for experimenting. Gauze, dark sunglasses and bandages serve the hidden-personality purpose. Let them make their own from big paper bags. Just what is somebody hiding behind a mask?
Stanislavski said: ‘actors can be possessed by the characters they play, just as they can be by masks’. Masks grip teenagers, and can be beautifully linked with things like death or interrogation-torture in drama work.
Sources:
- Trestle Arts Base. Web 24 September 2011.
- Masks in Ancient Greek Theatre. Web 24 September 2011.
- Drama Teaching, Using Masks Drama Lesson Plan. Web 24 September 2011.
David Porter - Member of Parliament (1987-97), district councillor, party political organiser, former teacher of drama and now retired Head of Performing ...
Join the Conversation