E. Simon

Masking Unmasked (eBook, PDF)

Four Approaches to Basic Acting

• Format: PDF

Produktbeschreibung

Acting with masks is one of the most ancient stage techniques still in use today. Masking Unmasked is a basic guide to using this ancient art 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. For instance, mask acting provides a great way of strengthening core acting skills. 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 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.

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Produktdetails

• Verlag: Palgrave Macmillan US
• Seitenzahl: 185
• Erscheinungstermin: 19. Februar 2004
• Englisch
• ISBN-13: 9781403973641
• Artikelnr.: 38460098

Autorenporträt

Eli Simon is Professor of Acting at the University of California, Irvine, USA. A specialist in masking, commedia, and clowns, Simon has taught and directed at training programs throughout America, Korea, Italy, Spain, and England. He is the author of Masking Unmasked: Four Basic Approaches to Acting , and his clown troupe, CLOWNZILLA, has received national and international acclaim.

Inhaltsangabe

Overview Full-Face Masks Clowning Bag Masks Half-Face Masks

Rezensionen

"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