Larval Masks Workshop – 27 July (Sun), 10-6pm
by Daniela Carmona and Adriano Basegio
Venue: ITI at Emily Hill, 11 Upper Wilkie Road, Singapore 228120
Fee: 1 Workshop: $ 90 (standard) / $ 65 (students)
Both workshops: $160 (standard) / $120 (students)
Please refer to the EDMs for more information.
Fill up this form to register: http://goo.gl/8xiMNp
For enquiries, please email firstname.lastname@example.org.
Neutral Mask: the axis and the balance; the breathing and the calm; the silence and the economy; the emptiness and the truth; the receptivity to space; the previous neutrality to the action; the metamorphosis of the body in the dynamics of nature: the elements water, earth, fire, air – the search for the rhythms and states that support the actor in his play. This workshop offers an introduction to the Neutral Mask, firstly conceived by Jacques Copeau in the beginning of the 20th century. According to Jacques Lecoq, the Neutral Mask is a white page, a structure with its own characteristics, the starting point from which the actor articulates his corporal speech. By covering his face, the expressiveness is distributed throughout the body in integral movements. When porting it, we can view the body vices, as well as the psychological attitudes based on rational projects: the mask strips and unmasks.
Larval Masks: the attitude of the Basel’s carnival masks (Switzerland) – the contrast or similarity to their forms; the senses stimulated by the small hole of the eyes; the silence and complicity necessary; the expressive potential of their plastic; the body submitted to and driven by the sensitivity of the mask; the metamorphosis in materials and sensations to find unusual shapes.
The Larval Masks are introduced to the theatrical universe by Jacques Lecoq. They are huge, white and have various shapes. When placed on the face, sends the human figure to a delicate and subtle universe. The body becomes a larva and can transform itself into man or animal. Here the visual meaning is valued – costumes and sets. These strange figures have a non-sense play: their indefinite shape makes the actor create from non-logical and absurd ideas. The actor needs extreme concentration in this technique, because the Larval’s eyes are very small and many times he does not see. It’s a wonderful opportunity to pay attention to the sensory stimuli that come from the colleague and audience; to be aware of the climates and atmospheres onstage. Working with the Larval Masks is a great possibility to make the body more refined, present and conscious.