Cambridge TECHNICALS

OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS

MASK – MAKING IN THE PERFORMING ARTS T/502/5626

LEVEL 3 UNIT 51

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10 mask making in the performing arts T/502/5626 LEVEL 3 UNIT 51 Aim of unit The tradition of mask dates back to prehistoric times yet it continues to be a powerful performance tool. The skill of the mask designer/maker enables them to promote the rich tradition of mask worldwide, crossing all language barriers and accessing a range of cultural diversity. The aim of this unit is to develop learners’ knowledge and understanding of the construction and use of masks within the performing arts. To this end, learners will research, design and construct a mask/s. An accompanying portfolio will illustrate the creative and evaluative journey that the learner has undertaken throughout the unit.

www.ocr.org.uk 2 Mask – making in the Performing Arts Level 3 Unit 51

ASSESSMENT AND GRADING CRITERIA

Learning Outcome (LO) Pass Merit Distinction

The assessment criteria are To achieve a merit the To achieve a distinction the the pass requirements for evidence must show that, in evidence must show that, this unit. addition to the pass criteria, in addition to the pass and the learner is able to: merit criteria, the learner is The learner will: The learner can: able to: 1 Know how to collate P1 produce some evidence M1 produce some research findings of research into evidence of research historical, cultural and into the use of mask in ethnic masks contemporary theatre

2 Be able to generate P2 generate some design design ideas ideas related to the research

P3 produce, with M2 discuss the advantages D1 explore a range of guidance and support, and disadvantages decorative finishes an investigation of methods of within the process of of techniques construction within mask making and methods of the process of mask – construction making

3 Know how to use P4 use resources and ideas M3 evaluate the materials, construction in the final design(s) effectiveness of the and decorative to communicate an final design(s) techniques effective interpretation of the stimulus material and character

4 Be able to construct P5 construct masks that M4 evaluate the durability, masks from designs are fit for purpose comfort and impact and relate to the of the mask under performance material performance conditions

3 Teaching content The unit content describes what has to be taught to ensure that learners are able to access the highest grade. Anything which follows an i.e. details what must be taught as part of that area of content. Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although these do not need to be the same ones specified in the unit content.

Know how to collate research findings -- Indian • Where and how to locate research within a range of -- Sri Lankan resources, including: -- Switzerland -- Books -- German -- Magazines -- Austrian -- Periodicals • Theatrical use and purpose of mask within a range of -- Internet performance genre, including: -- DVDs -- Greek and Roman theatre -- Photographs -- Mummers -- Paintings -- Mystery and Miracle plays -- Commedia dell’arte -- Live performance -- Balinese dance -- Museum collections/visits -- Chinese Festivals -- Education packs -- Japanese Noh theatre -- Contemporary and past production programmes. -- Ballet. • Construction methods and materials • Development of the use of mask by a variety of practitioners, including: • Cultural significance -- W.B. Yeats -- Ceremony -- Bertolt Brecht -- Ritual -- Eugene O’Neill -- Paganism/Christian -- Arden -- Shamanism -- Luigi Pirandello -- Burial -- Edward Gordon Craig -- Rites of passage -- Jacque Lecoq -- Initiation -- W T Benda -- Hunting -- Mary Wigman. -- Warfare • Mask within contemporary performance, e.g. Trestle, -- Protection. Strange Face, Ophaboom, Tut’Zanni • Historical and geographical background • Consideration of the use of mask within learner’s own -- Pre historic performance work -- Egyptian -- Improvised performance -- Mycenae -- Text where mask is specified as a performance element -- Aztec and Inca -- Text where mask is not specified but could add a -- Greek further creative dimension to the performance. -- Roman -- Anglo Saxon • How to record, organise, present and store research -- North and South American Be able to generate design ideas -- African • Generating ideas. -- Japanese -- Chinese • Reflecting and evaluating research – designs, materials and -- Venetian construction. -- Korean • Establishing purpose and context. -- Balinese.

www.ocr.org.uk 4 Mask – making in the Performing Arts Level 3 Unit 51

• The use, advantages and disadvantages different types of • Designing for a specific performance and/or character mask for performance • Performance and text – consideration in terms of: -- Full face -- Genre and performance style -- Half mask -- Purpose – what, where, why, when, who. -- Full head -- Eye masks • Considering the character -- Body masks -- Purpose of the mask -- Type of mask – genre and performance style • How to realise a design on paper -- Necessary measurements • Experimenting with contemporary methods of -- Reflecting on research construction -- Designing the mask • Health and safety considerations for construction and -- Presenting the design finished mask -- Type of material(s) and construction -- Easy to make masks – paper bag -- Consideration of other creative production elements -- Paper plate -- Materials and methods of decoration for chosen -- Balloon medium of construction. -- Paper headband. • Consideration of common problems • Experimenting with more sophisticated methods and techniques -- Adjusting mask to fit -- Clay masks – using a pressed mould -- Design/mask is too complex -- Slip cast mould -- Standing up to ‘wear and tear’ -- Building over a clay form -- Repairing mask -- Plaster masks -- Fit for purpose, is it artistic rather than theatrically -- Pressed plaster functional. -- Poured plaster • Budget -- Paper masks from plaster moulds -- Costing construction materials and decorative finishes -- Papier-mâché –pressed papier-mâché -- Layered papier-mâché • Evaluate final design -- Cloth mache -- Cost -- Buckram masks -- Time management -- Wire masks -- Impact -- Vacuum formed -- Practicality for wearing -- Mixed media. -- Comfort -- Durability • Evaluating construction methods, their application, -- Fulfilling theatrical purpose/function advantages and disadvantages -- How does the mask work in conjunction with • Exploring decorative techniques, including: production elements – costume, lights, setting. -- Painted finish – using gesso, emulsion, acrylic, oil Be able to construct masks from designs based, gouache, gloss -- Varnish – mixing colours and types of finish. • Making mask, construction, fittings

• Experimenting with a range of collage effects and creative • Evaluate finished mask(s) at various stages of the ideas construction and fitting process

Know how to use materials, construction and • Final evaluation and recommendations. decorative techniques

• Exploring the mask as a theatrical device -- The purpose and effect of the mask -- The use of the mask by the actor -- The mask working in conjunction with other creative performance elements.

5 delivery guidance The learner should experiment with a range of construction/ decorative methods from the simple to the more Know how to collate research findings sophisticated. The tutor may wish to use the experience of Mask – Making Practitioners to deliver all or part of this This element of the unit should be delivered using a flexible element of the unit. range of teaching methods as applicable to the size and ‘makeup’ of the group. For example, it may be necessary It is essential that the learner is fully instructed in the health to divide the research into ‘bite size’ pieces, with learners and safety issues associated with the various methods of ‘touching base’ with the tutor/group and presenting construction and decoration their findings on a very regular basis or even undertaking research under constant supervision. However it may be The learner should be encouraged to discuss and evaluate applicable for other groups to be encouraged to undertake the advantages and disadvantages of the various methods their own research project presenting their findings only on of construction and decoration for mask – making for completion of the project. performance

The tutor may wish to divide the research into focused Know how to use materials, construction and ‘projects’, e.g. one group/learner could look at ‘burial/death decorative techniques masks’, whilst another could look at masks used within The learner should be encouraged to reflect, evaluate and ‘warfare’. capitalise on their learning and experience gained from L01 and L02 to move them towards their project of making a It may be necessary with a small group for the tutor to mask/s which is fit for performance purposes. supplement and fill in any gaps within the required overview using handouts and pictorial evidence. The tutor should introduce the concept of designing for a specific production or character(s) The learner should Nevertheless following an initial introduction to the be enabled to analyse the text/character appropriately to course and before any research can be undertaken, it is enable them to fully understand the purpose and demands essential that the learner is conversant and confident about of the mask within a production. undertaking the research, using methods as applicable and producing, correlating and presenting their findings as The learner should be enabled to design for a specific ‘in required. house’ production text/improvised or for a specific given character, e.g. ‘Bottom – donkey’s head from a Midsummer The tutor should ensure that the learners have access to a Night’s Dream’ or to a given remit. diverse range of research and mediums. The role of the mask in conjunction with other creative Presentations, discussions, evaluations and tutor – led production elements should be fully explored. Common clarification and instruction should allow all learners to problems should be outlined and discussed before the benefit from the range of research available and undertaken. learner is encouraged to complete their final mask(s) Be able to generate design ideas design(s).

The learner should be encouraged to further reflect and The tutor should discuss and evaluate the final design(s) and evaluate on the research for inspiration and ideas for their facilitate the learner in completing the design. own mask designs. They should consider the methods of construction that have been used and the decoration of Be able to construct masks from designs such masks. The tutor should ensure that the learner has the necessary materials, facilities and time to complete the making The learner should be introduced to a range of different of the mask. They should guide and assist the learner types of masks for performance and the advantages and during the process as appropriate to the learner’s needs disadvantages should be considered and discussed. and requirements. The tutor should ensure that the Learners should be encouraged to continue experimenting learner has regular fittings with the ‘actor’ and that the with their own design ideas and they should understand ongoing construction and effect of the mask is regularly how to record and present their designs on paper or 3D evaluated and discussed in terms of its potential within the format if applicable. performance. Where possible, the learner should have the

www.ocr.org.uk 6 Mask – making in the Performing Arts Level 3 Unit 51

facilities to look at the mask under performance conditions with appropriate stage lighting and with the other applicable production elements in situ. The learner should be enabled to evaluate the finished mask(s) and put it into context within the experience of mask – making for performance.

7 Suggested assessment scenarios and guidance on assessment

Assessment and Grading Criteria P1, M1 The learner should complete a research project into the historical and cultural use of masks. If the learner is taking a comprehensive approach to the role of masks, it is expected that for P1 they will offer an organised and correlated overview of the use of masks with some specific evaluation of their design and function. Those learners who have a more specific remit to research will be expected to produce a more focused view of a particular type or use of mask. For P1 the learner should compile and organise their research findings within a portfolio. To gain M1 the learner should extend their research to demonstrate an understanding and qualitative evaluation of the use of mask by a contemporary theatre company. This research should form part of the evidence within their portfolio.

Assessment and Grading Criteria P2, P3, M2, D1 The moderator should be able to understand the quality of the ‘journey’ that the learner has taken through the process of mask – making. P2 should be evidenced through a range of drawn/painted and labelled design ideas or 3D equivalents, all of which should be included within the learner’s portfolio or available for the moderator to view. For P2 the learner should provide evidence of their experimentation of construction methods. Evidence should be made available for the moderator and could be in the form of photographs, filmed evidence formatted appropriately on a DVD, hard evidence in the form of part or whole masks. For M2 the learner should provide comprehensive evidence of their evaluation of the various construction methods; this could be written as part of their portfolio of as part of the DVD material. To be awarded D1 the learner should provide comprehensive evidence and a thorough evaluation of a range of decorative techniques and ideas which they have explored. Evidence could be provided by photographs, supported by written evaluation or filmed evidence or there could be physical evidence with written evaluation to support their experimentation.

Assessment and Grading Criteria P4, M3 For P4 the learner should provide a final mask design(s) which is fit for purpose and could enable another student to implement the design if necessary. To gain M3 the learner should provide a detailed written or recorded evaluation/ justification for their design(s) this should reference their understanding of designing a mask for performance covered in L03.

Assessment and Grading Criteria P5, M4 To gain P5 the learner must complete a mask/s which is fit for purpose. A detailed written or recorded thorough evaluation of the mask, reflecting upon its use and effect within the performance space will provide evidence for M4. The learner should reflect on their learning and construction experiences within the unit and insightfully evaluate the types of mask best suited to performance.

www.ocr.org.uk 8 Mask – making in the Performing Arts Level 3 Unit 51

resources

A large space which is equipped to allow the learner to experiment with a range of construction methods as outlined within the unit.

A range of construction/ decorative materials as outlined in the unit.

Performance space with stage lighting which allows the learner to reflect on their design – mask.

A range of set/ props and costumes/materials to enhance the use and effect of mask within a performance space as applicable.

Masks: Face of Culture J. Nunley/C, McCarty/J.Emigh/L.K. Ferris Harry N.Abrams 978-0810943797

The Secrets of Noh Masks Michishige Udaka & Shuichi Yarnagata Kodansha USA 978-4770030955

African Masks: From the Barbier-Mueller Collection I. Hahner-Herzog/M. Kecskesi/L. Vaida Prestel 978-3791338071

Masks: The Art of Expression John Mack British Museum Press 978-0714125305

Masks in Modern Theatre Susan Valeria Harris Smith Univ of California Press 978-0520050952

The Prop Builder’s Mask Making Handbook Thurston James Betterway Books 978-1558701663

The Background, Making and Use of masks Jennifer Foreman Lutterworth Press 978-0718829483

Mask Making Glynn McKay Book Sales 978-0785801764

Masks and Masking Gary Edson Mc Farland 978-0786445783

The Mask Handbook Toby Wilsher Routledge 978-0415414371

Mask Making Carole Sivin Davis Publications Inc. 0-871921782 www.commedia.klingvall.com/commedia-dell www.ravenwoodmasks.com/mask-making www.ehow.com/video_2375854_make-dramatic-theatre-mask www.the-noh.com/en/worldmask www.trestle.org.uk/mask-shop www.incredibleart.org/files/masks www.ehow.co.uk/how_8670344_make-carnevale-mask www.strangeface.co.uk www.vamostheatre.co.uk www.masque-theatre.com www.propbuilderhowto.co.uk/makebasicmasks www.fffff.at/how-to-vacuum-form/

www.ocr.org.uk 9 Mask – making in the Performing Arts Level 3 Unit 51

Links to NOS

Suite Ref National Occupational Standard

CCSTP 34 Interpret designs for sets or props

CCSSM 3 Make finish and adapt props

CCSCA 8 Obtain and use research information

10 CONTACT US Staff at the OCR Customer Contact Centre are available to take your call between 8am and 5.30pm, Monday to Friday. We’re always delighted to answer questions and give advice.

Telephone 02476 851509 Email [email protected] www.ocr.org.uk