This is part of a new venture for me, as recently I had some interest in maskmaking again.
More samples are to come.
There is a lot of intrigue surrounding mask, our earliest ancestors throughout the world have expressed themselves, their history, and even their Gods through mask. It has such a rich heritage, that I can't think of a single geographical location where there wasn't mask use of one form or another (if you know of any feel free to update me).
Some of this mystery still persists today but not nearly as much, special effects tend to dominate what it is we are willing to see.
Some Theatre groups incorporate mask, and when it is done well it has a dramatic effect on everyone involved. A good mask performance presents theatre in a way that only theatre can. When it is done poorly... well... that's why not everyone does it.
I think we are again on an upsurge of mask interest. More groups are doing successful work with them and this generates more interest. But with the interest there can be conflicting views (it adds to the mystique!).
My Mask Opinion
Is just that... my opinion. I am quite open to different approaches in mask. It's the result that matters.
And though I have preferences about what makes a good mask, the truth is that if is in on your face... its a mask. There is not 'one right way' to make a mask. Rules can be broken with great effect.
Good or not is a bit more subjective.
I have heard different views on eye size. I have seen alive and dead masks, with both big, and small eyeholes. Personally, I prefer the larger eyeholes. It brings the eyes into play, and for performance it helps when you can see.
Some find large eyeholes to be a somewhat jarring feature as they can separate the face from the mask (you see the skin color through them). The best way to deal with this is to darken around the eyes on both the performer and the mask. Unfortunately the pictures (on the right) don't demonstrate the darkened eyes... but it does gives you an idea of what that contrast can be (skin and mask). The masks are 'alive' to my eye in these pictures regardless.
For me the biggest and most important aspect to performance masks is whether or not they are alive. They can be made from cardboard and still be alive, or they can be finely wrought artistic masterpeices and be completely dead. I have seen both, and one certainly does not preclude the other.
You really can't know whether the mask you are making will be alive, you can certainly hope, and create a space where the mask's spirit can come into the mask... might seem a bit of an odd thing to say, but to put all your focus into it has better results than just 'throwing one off'. And to clarify, it doesn't have to be beautiful.
Technically speaking, one of the things that contributes to a mask being alive is whether it has play. By this I basically mean somewhat pliable in expression depicted. The body does a lot of the work in informing the mask, but its great to have the mask also be working when it moves.
The blue clown mask pictures (Top right) give an example of play. The angle changes the expression.
I hope to add more pages soon, including a 'how to' section. Check back often! Feel free to contact me with any comments you may have. If you are a Mask Maker or Mask Performer I'd be happy to trade links!
If you are interested in having masks built for your project, or taking a workshop in either Mask Construction or Mask Performance, please Contact Mark Dawson