Master class resource pack The Way of the Mask: the Neutral Mask and the rhythms of the imagination. By Matt Lynch October 2016, Chang Mai TaPS

Transcription

1 Master class resource pack The Way of the Mask: the Neutral Mask and the rhythms of the imagination. By Matt Lynch October 2016, Chang Mai TaPS

2 The Way of the Mask: The Neutral Mask and the rhythms of the imagination The artist s inner sense of self is one of an adventurer, cultivating the mind of a beginner, forever exploring the present moment. There are many ways to develop a state of physical presence. The following workshops are designed to introduce the basic elements of physical theatre and introduce one possible way of developing an embodied presence, the way of the mask. They are designed to assist teachers and students to explore the dynamics of movement, the techniques of mask work, and introduce the concept of neutrality. stage. Neutrality in theatre does not mean bland, nor boring, but simply neutral of intention, prejudice, and preconceived ideas. All that prevents the actor from an embodied presence. It is never easy for the actor to be in the present moment, to be free of anticipation, to allow what is to grow and inform the sense of play on Indeed as actors we often find it difficult to trust the present moment and listen to our creative intuition. In our hesitation, we fall back on what has worked without respecting what could work. We follow preestablished paths, and use of conventional and proven techniques to express the emotion of the character but not always of the moment. Whilst these techniques work, they may prevent the development of a genuine sense of play, a sense of discovery and We shall not cease from exploration, and at the end of all our exploring, we will arrive where we started and know the place for the first time. T.S. Eliot curiosity, so crucial for the authenticity of the moment to develop. The true joy of acting is essentially learning to be in the present moment, learning to listen and use the simplicity of the breath, and experience the ever unfolding of the present without prejudice or anticipation. Jacques Copeau ( ) used mask work to free the actor and unleash the imagination. Jacques Lecoq ( ) further developed his training techniques and, with the help of Amleto Satori, using designs from the Greek chorus mask and the Japanese noble Noh mask, designed an archetypical mask he called the Neutral Mask. He called this noble mask neutral not because it is bland but rather because it amplifies all

3 that the actor brings to it, the good, the bad, the prejudice, and the pure, opening the actor to the space around him, placing him in a state of curiosity, discovery, and palpable presence, open to receive the teachings of the intuition. Jacques Lecoq argued that the Neutral Mask is the very beginning of the adventurer s journey and made it the central point of his teaching. He observed that the Neutral Mask when used well develops an awareness of self within the body in space, allowing the actor to explore the natural rhythms of movement and the central dynamics of play. This is what the Neutral Mask offers the actor, to drop out of the mind and all its confusions in to the body and all its intuitions! The body of the actor is an essential tool. It is important to understand how it moves, how it relates to the theatrical space, how it experiences and expresses emotion and situation without prejudice or preconception. Putting too much emphasis on the mind can become psychological and destroy the play, both for the actor and for the audience. The importance in theatre is to develop immediacy, a sense of presence. Working with the Neutral Mask is the very beginning of the artists journey and as Lecoq points out, helps to identify a resting state for the actor, a condition of presence from which all things are possible, and to which all actions return at completion. It helps develop a beginner s mind. Essentially, the Neutral Mask opens the actor to the space around him. It puts him in a state of discovery, of openness, of freedom to receive. It allows him to watch, to hear, to feel, to touch elementary things with the freshness of beginnings. Jacques Lecoq The Neutral Mask belongs to the world of archetypes and represents a key step in the training of the physical actor-creator. Through covering the facial expressions of the actor, the Mask forces her/him to go back to the roots of her/his own presence in space. Gestures have to be amplified, and everything is brought back to the body, thus giving the actor a complete new sense of space, presence and dramatic expression. Analysis of Movements and Improvisation are the two tracks on which the teaching evolves, giving the students the physical awareness and the skills to explore the world of masks on stage. Mask playing combines strong emotional awareness and a powerful body alertness, with a rigorous technique of articulation of the body into dramatic attitudes. The Neutral Mask is an amazing training technique for the theatre artist and educator, as it helps prepare the foundations of presence and develop a state of discovery and curiosity so crucial in nurturing a genuine sense of play.

4 The goals of the workshops are the following: To underline the importance of simplicity in acting and develop a genuine sense of play. To develop an awareness of the body as an essential tool in theatre. To introduce the concept of neutrality as a state of presence from which all is possible. To explore the importance of mask work as a tool to develop the creative potential of young actors. To introduce simple teaching techniques that can help theatre educators introduce physical theatre into their programmes. Workshop I: Introducing the basics of physical theatre Goals: Explore the rhythms and dynamics of movement Drop into the body, Explore dynamics of movement and the grand diagonals of physical presence WARM-UP: PURPOSE: Stick in the Mud: Physical intro Red light/green light: Focus on non-movement. Learn to contain energy. Pepsi-cola: Develop alertness. Become aware of the body. Learn to work with relaxed tension. Tao Massage: Center the mind. Relax the body. Focus on Breath Articulation of the body: Focus the mind on the body. Explore the three central axes of movement. Stretch the body: The Plate Relax the body. Become aware of the theatrical space. Learn to give. Les Massus: Develop coordination. Explore the difference between forced and natural rhythms of movement. Le Baton: Develop precision. Learn to work with the imagination.

5 Le Samourai: Explore the natural articulation of movement. Understand the importance of deciding and letting go. Two types of physical realisation : Explore the different rhythms of realisation. Eclosion and Explosion Le Passeur Develop clear attitudes in the body Explore the dynamics of diagonals Le grand corps poetic! Drop into body Three gates Focus on Breath Shake body out Improvisation: Le Plateau Le Plateau Learn the mystery of stage presence Develop the dynamics of chorus/ensemble work Discussion/Reflection: Integrating the exercises into your own work. Three/Two/ One Routine: Three concepts you wish never to forget Two activities/exercises you can not wait to use One core idea you really want to further develop

6 Workshop II: Introducing the Neutral Mask Goals: Explore the notion of simplicity in theatre, Discover the neutral mask, Develop a condition of presence. WARM-UP: Split improv.: What does it mean to perform? Brief discussion on simplicity PURPOSE: Make us cry!: Exploring preconceptions Learn to work with uneasiness Explore the neutral state of mind and body. Being available. Importance to develop simplicity and be available, without preconception, precondition, or prejudice. Articulation of the body: Focus the mind on the body. Explore the three central axes of movement. The plate Stretch the body Les massus: (See above) The swaying walk: Stretch the body Develop coordination Le baton: (See above) Le samourai: Explore the natural articulation of movement. Understand the importance of deciding and letting go. The two types of physical realisation Drop into body Explore the different rhythms of realisation. Undulation and opening up Tao Massage Mind to body and breath Three gates Shake body out Look at the rain, one drop at a time. Look at a tree, one leaf at a time. Look at the grass, one blade at a time. Look at people, one person at a time. A. Casey The State of Neutrality: A tool that forces the actor to face the unknown, Deprives the actor of the two most common means of The beginner s mind communication (face and voice). Serves as a radio amplifying every gesture, every intention, every prejudice.

7 Help actor go beyond the ego and notions of good and bad. The turning point in the point in the process of becoming yourself is when you discover the core within you that survives all hurt Max Lerner No past, no future, a state of presence, no prejudice! A childish curiosity, full of joy and discovery. L eveil: The garden of eden Simplicity Moment of awakening State of presence. Alert curiosity. Projecting the imagination. The light Same as above Moment of discovery The rising sun Same as above Develop the imagination Translate the image into the body The fog, sea, and stone: Same as above Discovery Decision Action, followed through until completion/closure. Discussion/Reflection: Integrating the exercises into your own work. Three/Two/ One Routine: Three concepts you wish never to forget Two activities/exercises you can not wait to use One core idea you really want to further develop

8 Workshop III: The Neutral Mask and the Ensemble. Goals: Explore the notion of availability in theatre, Learn to work with the other. Warm-up: Walking Meditation: With stones Articulation of body: Stretch the body: The plate Les Massus: The swaying walk: Le Baton: Le Samourai: Purpose: Focus on breathing. Develop state of presence. Center the mind on the body. Realisation : Undulation and opening up Working with other: Working with other, physically: Sit back to back, listen to other s breath Find five ways to carry the other across space, first in pairs then in groups of four Improvisation: the Neutral Mask and ensemble work. La Rencontre: The garden of eden with adam and eve: Awakening Discovery Encounter Availability to situation and other L Adieu (5 to 7): Anticipation Discovery Disappointment Collective tragedy Exodus: Les grands emotions Fear, terror, coming together The departure

9 Discussion/Reflection: Integrating the exercises into your own work. Three/Two/ One Routine: Three concepts you wish never to forget Two activities/exercises you can not wait to use One core idea you really want to further develop Notes/brainstorms: What does the concept of neutrality mean to you? Why do you think lecoq placed so much importance on the neutral mask as a tool for training young actors? Please quote from your reading. In your experience, what are the benefits of training with the neutral mask? Describe in a few words/images your journey towards neutrality. Bibliography and Resources: Jacques Lecoq, The Moving Body (London: Methuen, 2000) ISBN Simon Murray, Jacques Lecoq (London: Routledge, 2003) ISBN: m