SaraVecchietti
Course programme
Masks and make-up serve different performative, initiatory and symbolic functions in Western and Eastern theatrical culture and practice. The course offers a theoretical and practical approach to the subject of representation through masks and stage make-up.
The theoretical component is divided into two sections: the first is historical and critical in nature; the second provides an introduction to the execution techniques and materials that will be explored during the construction phase.
From a historical perspective, the following topics, related to the dramaturgical role of set design choices and actor training, will be covered:
– The role of the ‘neutral mask’ in character creation for the mime actor in the early twentieth century, according to the main theories of the pedagogical directors of the European theatrical avant-garde (in particular Copeau and Decroux at the Vieux Colombier);
– the dramaturgical function performed by the Swiss masks of Basel in pantomime storytelling;
– Masks in Italian Commedia dell’arte: comic types and characters;
– The ritual, initiatory, divinatory and cathartic functions of masks in Oriental theatre.
The dramaturgical function of the mask in theatre shares certain similarities with stage make-up, which can be identified in the analogy between physiognomy and character: both serve to alter the features of the face, adapting it to the image required in a given context. More specifically, theatrical make-up – whether two-dimensional or three-dimensional – can be divided into two main types:
– Characterising make-up: this can represent a social role (an actor playing a king, a slave, a warrior, a religious official) and serves an expressive or decorative purpose;
– Concealing make-up: make-up that creates a face that is completely different from the real one, by concealing or exaggerating facial features or accentuating facial expressions (in a futuristic,
Expressionist sense, etc.).
Subsequently, guidance will be provided on the main construction techniques, materials and work tools required for creating masks and prostheses using silicone rubber, latex, papier-mâché and fabric. The practical phase of the course involves the design and creation of various examples of masks and theatrical make-up prototypes, based on the techniques and applications covered during the theoretical lectures.
Specifically, two types of masks will be created: one using the method of modelling a positive form in clay, followed by a plaster cast and the construction of the actual mask in papier-mâché or latex, to be decorated using various techniques (three-dimensional or two-dimensional); the other using the method of composing and assembling found objects and diverse materials of different types. Students will also experiment with a number of stage make-up styles (basic male and female, ageing and rejuvenation, ethnic, emotional, horror, fantasy).
Course objectives
The theoretical programme aims to equip students with linguistic and critical skills in the field of figurative art, both for live performance and for scenographic purposes (installations and design); it also seeks to encourage reflection on the performative uses of the mask and its anthropological and ritual significance in different cultures around the world. The course is designed to be interdisciplinary, so as to also appeal to students from different fields of study; therefore, it includes specific in-depth studies on the use of masks in traditional theatre, avant-garde visual art and contemporary experimental theatre.
The research work on the mask, which prepares students for the practical phase, can be seen as a key transitional moment in the creative process, supporting the exploration of visual languages. Indeed, students will be encouraged and guided on a journey of material and formal discovery of their ‘own mask’ in relation to the emotional sphere, which is intended as a preparatory methodology for their individual artistic process. Students will also undertake a project specifically for live performance: the next step will be to create a mask tailored to the requirements of the stage and the play.
The practical work also aims to provide specific technical and artistic skills in the design, creation, construction and stylistic choices for staging using the theatrical language of the mask, in an ongoing endeavour to discover potential connections between different areas of artistic expression.
One of the aims is to enhance the use of various construction techniques and the approach to different materials (clay, papier-mâché, traditional techniques, latex, silicone rubbers, various types of objects, etc.).
Teaching methods/course structure
The teaching is structured around the following activities:
– Introductory lectures on the work process;
– In-depth theoretical lectures on the subject of the theatrical mask, covering its history and various construction techniques, with the projection of images and videos;
– Design-focused group discussions;
– Practical workshop sessions involving the application of traditional and experimental techniques;
– Realisation of individual and group projects, either themed or open-ended;
– One-to-one discussions during class time.
Examination methods
At the end of the course, students’ acquired skills will be assessed through a discussion on the topics covered in class and based on the reading list texts.
The practical component will be assessed based on an analysis of the work produced, a discussion of the creative process, and the student’s ability to apply production techniques. Students will be required to submit a portfolio documenting the development process of the various stages of the work carried out.
The work produced constitutes the practical component of the examination; therefore, each exercise completed during class time must be compiled into a portfolio to be submitted on the day of the assessment.
Attendance at teaching activities is compulsory. To meet the attendance requirement, students must attend at least 80% of all teaching activities, excluding independent study.
Bibliography
– Caterina Ortu, Maschere del Mondo (available as an e-book for purchase on Google Books or Amazon);
1 text of the student’s choice from:
– Stefano Anselmo, Il trucco: nella vita, nell’arte, nello spettacolo, Volume 2, BCM Editrice, Milan 1995 (1987);
– Donatella Mondani, Manuale di effetti speciali di trucco, BCM Editrice, Milan, 2015;
In addition: lecture notes and videos provided by the lecturer.