MASKS: REAL OR ABSTRACT IDENTITY?
"Assimilating and integrating the origin of the different structures of consciousness was only a logical consequence of this research into the identity of a physical and universal language." Wolfram Mehring
Extract " THE MASK " From rite to theatre extract (Centre national de la recherche scientifique)
Possessing this language and expressing himself in this universal language, there is no particular technique to learn in order to be able to animate a mask in any spirit. The actor who possesses from within the semantics of all the parts of his body, of his lines in space, of the oppositions and confirmations of organs, of the dynamic impulses, of the movements of energies, will animate each mask according to the character, the situation, the spirit that he finds within himself. We have refused any particular technique of any elaborate form of theatre. The authentic expression will never be based on any code, it will never be ciphered or formalist, but it will be created from the inner and outer situation, each time in a new spirit.
To achieve an expression whose identity goes beyond that of a particular culture, and for the body to allow inner intentions to shine through, it takes many years of practice beforehand. Putting on a mask transforms the actor's entire performance. Since the easy expression of physiognomy is eliminated, it is the relationship between the head and the trunk with its various expressive organs that decide the actor's performance and his ability to give the mask an ever-changing expression. Everything else changes too. Costumes and voices must become masks. The transformation of the voice, outlawed in naturalistic theatre, becomes a necessity here, requiring a deeper awareness of the sound to be produced and of breathing.
Puppeteers know this, but their shrill, fake voices often show how difficult it is to avoid imitative acting, how difficult it is to identify with the character being portrayed.
The staging is also transformed, requiring a deeper knowledge of the laws of movement in space, the significance of the paths on the floor and communication between the characters, going beyond the psychological games usually played. The first effect of the mask play is one of distancing: the audience is watching, not participating. One of the most important objectives was therefore to recreate communication with the audience. Clarity is essential; the performance must be legible. The lines of the organs, their semantics and orientation in space, and the universal significance of all these elements determine the understanding of the mask play. The actor's dynamic impulses, the energy that flows through the body, directing the mask in relation to the body or the body in relation to the mask, determine the communication between the characters and with the audience.
But above all, the play must be uncluttered. We must strive to draw the essential from a host of different possibilities: this implies a richness from which we retain the best, the unique and clear expression.
Wolfram Mehring was guided by the decanting method. It was this method that often led him to play with masks, it was this method that helped him most in his search for a human identity that transcended different cultures and structures of consciousness. It is this orientation that has enabled him to reach the most diverse audiences during numerous tours of Asia, Africa and Europe.
"To assimilate and integrate the origin of the different structures of consciousness, was only a logical consequence of this research on the identity of a physical and universal language. Wolfram Mehring
Extract " THE MASK " From the rite to the extracted theater (National Center for Scientific Research)
Possessing this language and speaking in this universal language, there is no particular technique to learn to be able to animate a mask in any spirit. The actor who possesses from within the semantics of all parts of his body, that of his lines in space, oppositions and confirmations of organs, dynamic impulses, movements of energies will animate each mask according to the character, the situation, the spirit he finds deep inside himself. We refused any particular technique of any form elaborate theater. The authentic expression will never be based on any code, it will never be encrypted or formalistic, but it will be created from the internal and external situation, each time in a new spirit.
To reach the expression whose identity exceeds that of a particular culture and that the body reveals the inner intentions, it requires a prior work of practical exercises, for many years. Putting on a mask leads to transforming the whole actor's game. Since the easy expression of the
physiognomy is suppressed, it is the relations between the head and the trunk with its various expressive organs that decide the actor's play and his ability to give the mask an expression that is always different. Everything else changes too. The costume, the voice, must become masks. The transformation of the voice, proscribed in the naturalistic theater becomes here a necessity and requires a deeper awareness of the sound to produce and the breathing.
The puppet showers know it; but often their loud and counterfeit voices show how difficult it is to avoid an imitative play, how difficult it is to identify with the character represented.
The staging is also transformed and requires a more in-depth knowledge of the laws of movement in space, the meaning of the courses on the ground and the communication between the characters, beyond a psychological game usually performed. The mask game first produces a distancing effect: the audience watches, it does not participate. One of the most important goals has been to recreate communication with the public. Clarity is essential, the game must be readable. The lines of the organs, their semantics and orientation in space, and the universal meaning of all these elements decide the understanding of the mask game. The dynamic impulses of the actor, the energy that runs through the body, directing the mask in relation to the body or the body in relation to the mask decide the communication between the characters and with the audience.
But above all, the game must be refined. We must try to draw the essential from a number of different possibilities: this supposes a richness of which we keep the best, the unique and clear expression.
Wolfram Mehring was guided by the decantation method. It is she who has often led to the game of mask, it is she who helped him the most in his search for the identity of the man beyond the different cultures and structures of consciousness. It is this orientation that has reached the most diverse audiences during many tours in Asia, Africa and Europe.
A huge thank you to all our guests for coming in such numbers!
