More Shopping OptionsMasking Unmasked is a basic guide to using the ancient art of acting with masks to develop character and movement in four sections that correspond to mask size: Full-Face Masks, Clowning, Bag Masks, and Half-Face Masks. Each section addresses fundamental acting principles and shows how the ancient technique can be applied to the contemporary stage. It is the perfect book to use as background to traditional, non-masked acting principles. Actors in masks experience the primary goal of acting because they are required to tap into profound physical, vocal, emotional, and psychological transformations in the course of creating a character. In addition, masking promotes honest, believable, and detailed work. Illustrated profusely throughout, the hands-on exercises developed by Eli Simon teach actors to shift cleanly between beats, execute moment-to-moment specificity, unleash creative impulses, take risks, and expand character range, power, and vulnerability. Masking Unmasked is a book of ancient acting techniques that are indispensable for the actor of today.
Eli Simon is an Associate Professor of Drama and head of acting at the University of California, Irvine. He has directed over seventy productions at regional, Shakespearean, and university theatres. Simon has taught masking techniques across the United States, and in England, Italy, and Spain. Simon is the artistic director of the California Commedia Troupe - dedicated to the creation of original masked productions and international tours. The troupe has toured Europe on three occasions with their seminal play, The Venetian Physician's Magician. At La Sala Mirador, in Madrid, Simon directed the world premiere of Vaudevillo - featuring Spanish and American actors and masks. He is currently collaborating on a Korean mask drama commedia adaptation of The Birds. Simon received a BA in Theatre from UC Davis and an MFA in Acting from Brandeis. He lives in Irvine with his wife, daughter, and standard poodle.
"This unique and outstanding book addresses the most complex problem of acting: how does an actor inhabit a character, engage an audience, and at the same time retain - indeed, capitalize upon - his or her individual authenticity? Professor Simon's solutions are as delightful as they are instructive. An eye-opening work that will prove immeasurably useful to actors at all levels."
--Robert Cohen, Claire Trevor Professor of Drama, UC Irvine
"This brilliant, innovative, and beautifully organized book on using masks for actor training is a real treasure. Internationally known teacher anddirector Eli Simon focuses on four systems of masking that illuminate the most important and enduring premises of acting technique. Simon's text proceeds smoothly from building and using full-face and bag masks through clowning, commedia, and improvisation in its steady progress toward improving the skills of young actors. Honed in one of the top actor training programs in the country, the exercises in Masking Unmasked celebrate the instantaneous transformations available to actors at all different skill levels." --Michael Flachmann, Professor of English at California State University, Company Dramaturg for the Utah Shakespearean Festival
"This is a book I want to own! It would be useful not only for the teacher of movement and mask, but for the actor and the teacher of acting. It is comprehensive and quite practical in its approach to masking, clowning commedia and to the tremendous simplicity and fun of bag mask techniques. I found its organization clear and user-friendly, its language accessible and engaging. There is a logical progression of exercises which could take the actor through a complete course, or one could select exercises at random for particular acting, clowning or movement problems. I particularly appreciate its attention to specificity and detail, its encouragement to avoid generalizations, its practice with the use of triggers, and practice with vocal shifts - so useful for the actor! A great addition to our resources." -- Karen S. Ryker, Associate Professor of Acting, Voice and Text, Department of Dramatic Arts, University of Connecticut-Storrs
Introduction * Masking Questions and Answers * From mask to Hu-Mask * Actor Approach * Four Families of Masks * Planning the Course * Validation * Journaling * Building Masks * Handling the Masks * In Sum * Full-Face Masks * Section One: Overview * All-Powerful Masks * Transformation * Dream State * What, Are You Crazy? * Once Again, With Feeling * Section Two: Pre-Mask Foundation Exercises * Triggering Exercises * Section Three: Setting up for Full-Face Masking * Building the Masks * Studio Set-Up * Mirrors * Clothes * Hair * Wigs * Cloaks * The Standing Line * Three Tables * Watchers * Section Four: Core Exercises: Acting in Full-Face Masks * Warm-Up Reminder * Strong Emotion Ahead * Let's Get Physical * Essence * Speaking Up * Wigging Out * Cloaked in Mystery * Child's Play * Section Five: Core Exercises: In and Out of Full-Face Masks * Section Six: Core Exercises: Reviewing and Modifying * Section Seven: Advanced Exercises: Group Masking * Section Eight: Advanced Acting: Applied Full-Face Masking * The Greeks * In Conclusion * Clowning * Section One: Overview * Terminology * Essence * Studio Set-Up * Audience * Laughter * The Nose Knows * Costumes and Props * Section Two: Core Exercises: Basic Clowning *· Rules * Let's Face It * Connection * Yes-Mode * Spotlight: Charlie Chaplin * Section Three: Essence * Essence in One Word * Deepening Clown Essence * Essentially Still * Spotlight: Buster Keaton * Section Four: Risk * Raising the Stakes * Spotlight: Lucille Ball * Vulnerability * Repetition and Modification * Section Five: Advanced Clowning: New Directions * Alternate Essences Spotlight: Harpo Marx * Section Six: Applied Clowning * Sharing the Stage: Duos * Spotlight: Laurel and Hardy * In Conclusion * Bag Masks * Section One: Overview * Terminology * Shifty Business * Section Two: Pre-bagging * Making Bag Masks * Studio Set-Up * Neutral Walk * Section Three: Core Exercises: One-Character Bagging * Mask Performances -- It's in the Bag * Improving: Deeper and Cleaner * Surprise, Surprise * Section Four: Core Exercises: Two-Character Bagging * Vocal Shifts * Section Five: Three Character Bagging * Physical Shifts * Maximizing and Minimizing * In and Out of Bag Masks * Section Six: Advanced Bagging: Four-Character Bagging and Beyond * Complex Shifts * Section Seven: Applied Bagging * Jokes * Complex Scripts * In Conclusion * Half-Face Masks * Section One: Overview * Terminology * Commedia Connection * Copy Cat, Dirty Rat * Top or Bottom? * Section Two: Pre-mask Foundation Exercises * Section Three: Setting up for Half-Face Masking 8 Clothing * Wigs * Costumes * Props * Studio Set-Up * Building Half-Face Masks * Section Four: Core Exercises: Acting in Half-Face Masks * Rules of the Road * Propping Up * Exercise Fourteen: Reviewing Hu-Masks * Section Five: Core Exercises: Dynamic Duos * Section Six: Advanced Exercises: The Great Outdoors * Fresh Air at Last * Exercise Twenty: Goodbye Studio * Building a Crowd * Section Seven: Advanced Exercises: Applied Half-Face Masking * Creating an Original Commedia * Putting It All Together * In Conclusion * Appendix * Journaling: Hu-Mask Characters - Blank Journal * Building Full-Face Masks * Building Half-Face Masks * Building Bag Masks
