What is the Neutral Mask? Where did it come from and what can the
actor-in-training gain through using it? This book begins to answer
these questions by examining the rediscovery and rehabilitation of
masks as tools of performance in Western theatre over the past
century, considering the work of various theorists, directors,
teachers and performers in whose work the mask occupies a
significant position. Discussion then focuses on the development of
the Neutral Mask as an object and as a paradigm of pedagogy for the
actor over the past eighty years. With reference to the theories
and teachings of Jacques Copeau, Etienne Decroux, Jacques Lecoq and
Eugenio Barba, the author considers the possible parallels between
Barba's 'pre-expressive' state and the state of neutrality which
the Neutral Mask helps to develop in the actor. Also detailed
within this book is a 'practice-as-research' series of
developmental workshops for actors which investigated and
documented the various uses of the Neutral Mask and its
applications to the creative processes of the actor.
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