ACT TWO - MIDDLE ACT 8. MASK SERIE 2 - CLIMAX + Framework-observations

 

ACT TWO - MIDDLE ACT

8. MASK SERIE 2 - CLIMAX MIDDLE ACT TWO  

FRAMEWORK OBSERVATION

 

We aim to make more stylized, transcending character masks. The first series theaches us that only essential details must show in the masks, and also volume and shape must be simular. Any detail that does not add to the clarity of the expression of emotion is left out: shape of the outline, color, wrinkles and grooves, teeth.  We stylize further to transcend the expression and to go beyond realism. The second series is put to the test on the floor and observations gives us a new thread in developping the third series. the framework and the exercices for physical theater and mask acting comes to play a crucial role. The exercises gives the actor and the maskdesign a context and guideline on specific perspectives like contrast, opposing force, and the spine as a keyboard for expression. Mask and body language together determine the mask acting!

The masks series 2 contains 21 expressions, based on the AUs table per emotion and 1 neutral like in the publication Compound facial expressions of emotion of 31 March 2014. Mask series 2 were made by Datus Voorhorst based on our agreed conditions for stylizing.

  We find the masks very expressive and useful but still (too) human and not yet archetypal. They are definitely expressive members of a group. But we value the expressions in series 2 still as a specific one or person, and we want to transcend all specifics of a emotion expression into an universal mask character. In for instance the happy mask character all specific happy expressions must be recognized. How to develop further on the archetypal leads to dispute and try outs. Unfornately Kjell Weewer left the group leaving us to reach further.

 

Details in the eyes: The eyeballs are set slightly back from the eyelids. The irises and pupils differ in each expression of emotion: average size, enlarged or reduced, and flattened against the upper or lower eyelid.

The position of the eyes is crucial for the expression. Therefore, only the iris part of the eyes is cut out.

The masks are not given ears, teeth, hair nor wrinkles. The shape is cut in such a way that the actor’s ears and hair are visible.

The actor is allowed to breathe and so mouth and nostrils are opened.

The masks are not labeled with the names of the expressions, rather with a random number: the actor can only react to the mask, not to the expression’s name.

 

FRAMEWORK

For observations and play masks series 2 we have 11 sessions of 2-3 hours long where in total 122 students are involved 

No introductions are made: the masks are handed out at random for mirrored observations and followed by play improvisations right after.  In the mirrored observations, two students work together, taking turns, one wearing the masks, the other observing and taking notes. Small movements of the head are permitted, a glance, a slight turn of the head, no more than that. The shape of the masks allow the actors to cover the edge with their hair, adding to the illusion of a complete head. Students never play the same mask twice. Different masks are used in each workshop to create a variety of data and to preserve the originality of play. 

For theaterplay the transfiguration and magnification is given more detailed attention and is first exercised:  how to use space, breathing and expand leading motive and how to work from first impulses created more clarity. The masks come out well, they really come alive. The masks are the center of attention, there is no overkill of body language,  balance in maskpresence and its body language is found naturally.

 

OBSERVATIONS

The masks fit well to the head, the hair adds to the illusion of a complete head.

There is no distracting information – each volume of the head is the same, as if they are different versions of the same person. They are accesible to both men and women, they don't have a set age. The masks have a stylized, clean appearance but they can be recognized as a specific person or character. Many comparisons are made to family members, celebrities, colleagues. When described, they are often placed in a story situation or act.

The descriptions almost always hit home. Often discrepancies like a double layer are mentioned with the compound masks. Masks are described having behavior like a person or character. A history, experience or dilemma is often mentioned about the masks too. The observations are clear and to the point and show skillful examination.

The different emotion expressions in one mask surprise the audience and the actor uses this in his play.

Close encounters in play with the masks work best because of the visual effect: the illusion of meeting, ‘life together’, is greater and more meaningful when the space is smaller and the actors stay close together.

Breathing and dynamics (speed) enhance the play and the mask’s magic and audible breathing strengthens the presence. Repeating and adopting work well together. Rituals surface.

Following the chosen impulse – expanding or following the other and the given leitmotif is still difficult and insecure even though much attention is given in exercise seperately.  When the impulse is taken shape in space and for instance an actor is put aside of the group or when two camps emerge it adds to the clarity of the performance.

Maskplay is dictated by the need for ‘a voice’. Power and a longing for contact and an ally are strong motives.

A tableau vivant with hierarchic structure and play works well with the emotion masks and instantly separates a higher and lower status on the subjects of intelligence, emotion, volume, length and other advantages that can be exploited on stage.

The masks have a big range. Mobilizing status – high and low within the ‘family group’ – grants the masks, with their given expression, a bigger range of play. The possibilities multiply especially with the compound expressions by employing these shifts in status

If actors connect to the structure in play and realize they can choose it instantly, it creates depth in performance. One can use opposites, for instance or develop other seperate elements like  contrasts, dynamics, space, time.

Working  on prepared abstract phrasing per mask, we find the performance of those abstractions in articulations of movement in tempo and rhythm, shape the imagination.

All prepared abstract movement phrases fit and match the masks and the abstract typing in movement succeeds to bring life to the mask. It also lifts its individuality strongly, the focus is then more on musicality of the movement. It is like you look at visual poetry,

 

9. ARCHETYPES OR UNIVERSAL MASKS

 

The first series of masks can be seen as expressive and realistically sculpted heads or faces.

The computer software that measures AUs after FACS, pays no attention to wrinkles. To add wrinkles in the masks makes it more complicated and makes them less accessible to all ages. The first series thaught us that only essential details must show in the masks, and also volume and shape must be simular.

The realistic character of the series 1 masks impedes archetypical play: for the design series 2, we aim to make more stylized, transcending character masks. So far we have been looking to the illustrative appearances.

The first designs tells us to stylize the emotion expressions mostly around the sensory orifices:  mouth, nose and eyes. Any detail that does not add to the clarity of the expression of emotion is left out: shape of the outline, color, wrinkles and grooves, teeth.  We stylize further to transcend the expression and to go beyond realism but without losing the expression and characteristics of the emotion. Each mask is given its own expression of emotion. The transcending element is the 'family' of emotion expressions. Each mask expression is seen as if made by the same face. The basic shape is equal in size, symmmetrical in shape and gender neutral, with as few non-functional details as possible. Abstractions and artistic escapades are strictly forbidden.

Series 2 thus takes a big step toward becoming universal.

The maker has disappeared and the mask is more autonomous. The masks’ equal shapes and anatomy, positioning the eyes, nose and mouth allows the expression to stand out more. The masks series 2 are colorless except for slightly darker eyebrows and lips. The masks are rendered in off-white, lips and eyebrows are slightly darker to make the expressions more recognizable.

They have no wrinkles save the ones made by muscle contractions near the bridge of the nose and the forehead. The surface of the masks is flat, somewhat porous but not grooved. No irregularities stand out. The muscle contractions and the shape of the eyes, eye sockets, forehead, nose, nostrils, mouth, chin have been adapted from the ‘Action Units’ based on the table AUs per emotion as we researched and listed.

 

10. METHODS - DISPUTES ON METHODS FOR DESIGN

DESIGNS IN CLAY 

Examples of study design happily disgusted mask by all members of the research group: the last one (5th) was chosen as  clearest in fat and fascia tissue moving by involved muscle activity of the emotion expression.

The drawing shows  superficial and deep facial regions in the face. we studied facial soft-tissue anatomy and we studied the relation ship between the superficial facial fascia to the mimetic muscles and the deep facial fascia. The facial soft-tissue architecture can be described as being arranged in a series of concentric layers: skin, subcutaneous fat, superficial fascia, mimetic muscle, deep facial fascia (parotidomasseteric fascia), and the plane containing the facial nerve, parotid duct, and buccal fat pad. The superficial facial fascia relates to the superficially situated mimetic muscles as platysma, orbicularis oculi, and zygomaticus major and minor.
Superficial and deep facial regions in the face: here an a schematic computer animated drawing of the different planes of the fat and fascia tissue involved in shaping the masks series 3. (drawning and study of Kjell Weewer.) 

4 Examples of compound expressions of emotions: portraits of Steef, with close ups of the main charactestics of AU's involved, and designs in clay and in positiv masks. The mask designs here show already a stilized form of the muscles and fascia. (See further ACT TWO - CLIMAX 13. MASKS SERIES 3). All masks were first designed in clay. Then a cast is created with plaster so that the mask can be formed in the (inner)negativ side with paper mache and rubber. The first mask example of disgusted here is partly made with colored scraps of paper hence the color. After the raw positiv paper mache masks gets out of the inner (negative) mold, polishing and whitening is done.

The Weeping Woman ((La femme qui pleure), 

26 October 1937:  You see a kind of crying, begging woman. 

By applying different colors. perspectives and painting techniques, the image becomes surreal.

Pablo Picasso 1937 60 bij 49 cm

The Weeping Woman is made with oil paint on a canvas. The Weeping Woman is considered a "thematic continuation of the tragedy" depicted in Picasso's painting Guernica epic. In emphasizing the image of a crying woman, the artist no longer worked with the effects of the Spanish Civil War painting directly, but referred to a special image of suffering. The model for the painting was Dora, she worked as a professional photographer.

For me it is mainly the 2d - 3d plane division that connects to our approach for masks series 3 in further study of the fascias and fatty tissue planes.