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,