Masks & Theatrical Transpositions
The second term is dedicated to the mask, the first archetype of all theatrical languages.

​Theatre is storytelling. To tell a story, we need a language. The words of theatre language are forms in motion. Theatre as representation is rigorous play with the forms of life. The main skill of the actor is shapeshifting, the ability to change forms.
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The archetype of all forms is the mask, which essentializes and transposes movement dynamics, creates theatrical space, and allows play between the actor and the form itself.
​After the expansion of the sensitivity of the body during the first term, the actor encounters various families of masks: larval, expressive full masks, mono-directional half masks, (created by Matteo Destro), expressive half masks and Commedia dell'Arte Masks (Traditional Italian Half Mask Comedy). They all train the actor to amplify levels of playing, integrating movement & emotions. The actor with a mask goes beyond the intellectual and reaches a physical dimension of theatre in which ideas and feelings are integrated in one unique state of performing vitality. Mask play requires contact with the fundamental drives of life and a rigorous technique of articulation.
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Movement technique plays a key role in the second term, becoming a permanent practice of articulation, rhythm, timing and treatment of movements through the state of the various masks.
Treatments of space and time: theatre in limited spaces.
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The play of masks: essentialization and transposition of movements, emotions, gestures and dynamics.
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Masks: forms moving in space.
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Design and crafting of a full mask under the direction of
Matteo Destro.
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Full masks: larval masks, expressive masks .
The play of "sentimento": masks and melodrama.
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From human passions to human comedy: the half-mask.
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The vocal work of masks: resonators and articulation of voice.
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The voice of emotions and passions.
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Commedia dell'Arte: Traditional Italian Comedy.
Types, lazzi & canovacci.