Modern Masks - Trestle Theatre.

Trestle has been making inspirational physical theatre since 1981.
The advanced masks are a  hand painted set of theatre masks which consist of strong character types.
They explore all of the qualities of an expressive mask through bold and precise movement.
 They can be used individually or in unison and can interact with both masked and non-masked characters.

"Trestle theatre masks are playful, they transform performers and transfix audiences. With a mask on you have the freedom to explore your world through another’s eyes."

African Masks.

One of the main characteristics of culture of African peoples is use of masks in rituals and ceremonies.
The masks represent spirits of animals or ancestors, mythological heroes and moral values.
They are made from wood, pottery, textiles, copper and bronze Additionally, the details of the masks are made from animal teeth, hair, bones and horns.

African masks are most commonly shaped like a human face or a abstract replica of some animal. Antelope is one of the most widely used animal masks. The mask of an antelope symbolises agriculture and is worn to enable better crops.  Horns represent growth of millet, legs roots of the plants while ears represent songs that women sing in the harvest time.  Many different masks and materials represent different things, for example, masks made of antelope horns, crocodile teeth and warthog fangs symbolise power. Additionally, masks that represent calmness and patience have half-closed eyes and a small mouth.

Masks that represent ancestors are usually shaped as a human skull. They are used in various ceremonies as witnesses, dead ancestral protectors or as subjects to whom respects are paid.

Masks that are worn by a dancer that then becomes “bearer” of the spirit of the mask, a sort of a medium between the tribe and a spirit. Ceremonies as weddings, initiation rites and funerals have a masked dance.

Masquerade Masks.

Masquerade masks were used to hide the identity of the person wearing it during magnificent balls. This meant that you did not know the person you were dancing with because they had a mask on their face what hid their true identity.

The idea of a Masquerade Ball goes back to late medieval court life; it was originally designed to celebrate a marriage or mark a point in a royal family.
Masquerade balls grew into semi-public events by the time of the Renaissance, allowing the aristocrat and servant to interact, under the cloak of disguise - their popularity was very much about the freedom wearing a mask gave you.

For the rest of the 18th century these types of masks remained popular, spreading from England across to America; where they also became more relaxed, as guests tried to guess the identity of the person behind the masks.

They then had a rebirth in the late 80's and 90's both across Europe and in the US, when both individuals and business organisations rediscovered how perfect a Masquerade Ball was to add an element of Glamour and Excitement to any Ball or Party.

Commedia dell’Arte

Commedia dell’Arte was a comedic theatrical piece of drama performed by professional players who travelled in troupes in the 16th century throughout Italy. Music, dance and funny dialogue were all part of the comic effects in these performances.  These drama performances usually took place on temporary stages such as the streets of Italy but occasionally were shown in court venues. However, that was not the case for all of the troupes, the slightly better troupes performed in palaces and became internationally famous everytime they travelled abroad.

PROPS:

There were no extravagant sets in commedia as staging was very minimalistic and the stages were temporary outdoor streets. Instead, in Commedia dell’Arte the use of props was very vital. Weapons, furniture and food are only some of the props used in the performances. Additionally, a very particular character called Arlecchino bore two sticks tied together which made a loud nose on impact; this gave birth to the word "slaptick".

IMPROVISATION:

Improvisation was a unique talent of the commedia players around a pre-established scenario. Responding either to one another or the audience, the actors made use of 'lazzi' which were specially rehearsed routines that could be merged into the play at certain points to heighten the comedy, musical numbers and impromptu dialogue were also used by the actors.

STOCK CHARACTERS:

Commedia dell’Arte represented many fixed social types as stock characters such as foolish old men, devious servants and military officers. Below is further details on stock characters that I have found from the webiste: http://italian.about.com/library/weekly/aa110800b.htm

Balinese/Barong Masks.

On the left is a carved, wooden mask known as the Banaspati Raja which means 'King of the Forest'. Amonst Balinese society, lion-like masks are a common type but most of the other Barong masks can take on the features of many different animals such as deer, dog or wild boar.

Barong masks are considered to be very sacred items therefore they demand careful artistry. On this particular mask, the large, buldging eyes of the animal are enhanced and the two wooden tusks, expand beyond either sides of the mouth.
The Barong mask is a means of giving spirit and life a tangible form along with harnessing its energy.  The mask is usually stored in the village temple but bought out on special occasions to either restore the balance of cosmic forces or bestow its blessing upon the community. In these rather special times, the mask is either worn with a full body costume or placed on an altar in theatrical events or ceremonial processions.

Another very famous Balinese mask is the mask of Rangda, the queen of black magic. She is also a mythological figure of the Balinese along with being one of the main figures. Rangda is often regarded as a incarnation of evil however the mask of this threatening witch is usually revered in temples of the village as a protector of evil. Feautures of this mask are very expressive and simple; she has aggressive buldging eyes, very long tusks and a red tongue extending down to the waist.

The mytholigcal character of Rangda is said to be related to the Goddess of India, Durga who is the ferocious spouse of Shiva, the creator and destroyer. Rangda is simply just a manifestation of destruction, rage and anger and in certain theatrical performances it is said that many dieties and supernatural beings often appear in the terrifying shape of Rangda when experiencing such moods.

Additionally, Rangda is destructive and dangerous as she is able to possess the power of making her opponents fall into a trance. It is often said that the actor who plays Rangda also falls into a trance whilst performing as the magical powers of Randa place many requirements on the performer.

Finally, Rangda's movements purposely contradict all the ideals of Balinese classical dance. She stands trembling with her legs apart and shaking her fingernails as she becomes ready to attack her enemies. Similary to Barong, Rangda also appears at village festivals and various different rituals and dramas.

Noh Theatre.

The roots of the noh theatre go back 1,300 years to when a particular performing art called sangawuku was brought over from China. It merged with another form of entertainment called sarugaku. This art consisted of impersinations along with skits and short dances. As time went by, many professional sarugaku troupes became popular, their small skits grew into longer meaningful stories and the dances and songs became more sophisticated. 

Sarugaku shortly turned into the art of noh which introduced complex rhythms, advanced philosophy and monotonous singing style. Although the art of noh had evolved, the basic style and shape hasn't changed that much. Many people including military leaders were touched by the art of noh anf thus decided to incorporate it into the formal training of seveal samurai clans. Despite the fact the noh theatre was very popular it had faced a crisis during World War 2 but the effort and tireless energy of noh artists saved it from extinction. Before World War 2, there were only male actors in noh theatre but in today's generations there are more and more women professionals.  

Another feature of noh theatre is that the leading actor usually wears a mask, turning them into someone very different: a very old man, young or old woman, divine figure, ghost, or young boy. The actors who play supporting roles don't have to transform themselves similarly to the comic parts who dont have to wear masks either. 

Noh is performed on a special and quite particular stage, the main performing area is a square measuring 5.4 meters each side. Additionally, extending to the left of the stage is the hashigakari, a corridor through there the main musicians and actors enter and leave. These areas are usually covered by a roof so the stage looks like a house inside a building. 

Greek Theatre.

Many of the cities in Greece had a theatre; they were usually on a hillside or oval shaped arena. Greek theatres could fit upto an audience of 15,000 people. All the actors who performed in acts, were men or boys; all the female parts were also portrayed by men. All the actors changed costumes in small huts called 'skenes'. Additionally, the plays that were performed in Greek theatres were usually comedies or tradegies that had a moral within them. Aincent Greeks  were unsure of their exact origins, but Aristotle and a number of other writers proposed theories of how tragedy and comedy had developed, and how it told stories about the people thought to be responsible for their development. At first, the performances involved a large Greek chorus telling (or singing) a story. Gradually with popularity, these  would develop theatrical/mythical multiple characters.

 The stage (logeion) was quite a long and narrow platform which was about 12 feet higher than the orchestra. When the actions of the play required a different scene, the back of the stage was covered with painted curtains or boards, which were nractically never changed in the course of a play. 

Masks of Greek Theater

The masks were worn for many reason including:

1. Visibility

2. Acoustic Assistance

3. Few Actors, Many Roles

4. Characterization

Litter in the United Kingdom.

Year after year, billions of pounds are spent on clearing up litter from the streets that people have just thrown  on to the streets and other public places. This amount of money could be used to afford many other important services that people may need however, the people of the UK seem less disciplined and do not care about the effects of waste and litter. 

Every year 1.9 billion tons of litter ends up in the ocean. Can you possibly imagine how much this effects the marine life? Many people wonder as to why there are so many reports about fish kills every day but they may want to take a step back and acknowledge as to how they are contributing to it. Many animals in the ocean are losing their habitat due to the billions of litter we produce. 

Additionally, it is stated in many surveys that 50% of the waste and littered items are cigarette butts. This type of waste is a serious threat to the environment because of the cellulose acetate that cigarette butts are made of, could take 10 years to disintegrate. 

Many people have started educational campaigns and clean-up activities in their communities yet 75% of these people claim to have littered themselves within the past 5 years. 

According to a national study, the majority of people who would delibrately litter are those between the ages of 18 and 34. 




I have acknowledged that most of the waste and litter seen on the streets and streams of many cities in the United Kingdom come from the households of civilians; this is shown in this Pie Chart. 

Assignment 1: Research.

I have been asked to research the origins and history of various types of masks; additionally, I have been also asked to produce some statistical research about litter in the United Kingdom. Therefore, in the next few posts, I will be presenting my research in various blogs. 

Drama - Day 1

Masks: 

As part of our first introduction into various mask types, we learnt the correct ways of how to wear a mask along with participating in many different activities in the lesson that helped us become more comfortable with the concept of masks.

As it is very difficult to speak when wearing a full mask, we all participated in the 'No Air' book exercise. In this activity, we were in a circle around the rom, resting on walls, as they were the only places where there was oxygen; we had to pretend that in the middle of the classroom (where the book was placed) there was absolutely no oxygen. In this activity, we had to take a deep breath and pick up the book on a random page and attempt to read a line within a single breath; this was very difficult.

For the second activity, we were told to choose a partner and participate in the 3 books exercise; in this exercise one of the partners wants the books to be in the middle and the other partner for the books to be on the side. This consisted of walking fast paced as we were trying to complete our indiviual interests with the books. After a short while, the whole class became a group and had to argue with everyone else whilst attempting to place the books either on the sides or the middle of the classroom. This meant that we were multi-tasking as we would possibly have to do this with the masks while performing.

For the final exercise, we were given three scenarios and had to adjust our expressions according to the events that were taking place.

1.  For the first scenario, we had to pretend that our house was on fire and we were only able to save one item, the book. In this scenario I was scared and started panicing, was I going to survive or not? Additionally, my pace was rapid as I was attempting to get out the the fire with my most prized possession ALIVE. 
2. In the next scenario, we assumed that we were leaving our beloved house, this house was filled with several memories, so it was natural that we would slow down our pace and take a moment to ponder. In this activity, I imagined that the book was a photo album and I slowly and happily looked through it reliving so many memories again. 
3. In the final scenario, we had to pretend that we were burglars! Slowly tiptoeing around the house hoping not to get caught. In this scene I was very quiet as I knew that if I made a single sound it would be game over...