DTV2100 Acting with Masks Course description

Acting with Masks is the study of a type of theatre in which a person physically uses or puts on a mask, and brings it to life through acting. Masks are often integrated in ordinary theatre. Specialisation in acting with masks provides the students with basic knowledge of how to produce theatre masks and about how masks can be used and integrated in different types of drama work. The mask in European theatre and Theatre of the Grotesque/Commedia dell’ arte is central in this course.

Applicants may be able to take this course as an individual course if there are vacant places.

The course covers the following four main areas:

• acting with masks
• production of masks
• theory
• subject didactics

Acting with masks

Acting with masks covers acting with both full and half-face masks. Acting with masks requires an increased focus on intentions and action. Theatre masks require bodily engagement. The focus will be on different acting styles for different types of masks. This area also includes a practical test project.

Acting with masks comprises the following:

• acting with different theatre masks
• possibilities and limitations of the theatre mask
• choice of theatre masks
• acting style, form and directing concept
• framework conditions for production
• planning, carrying out and assessing acting with masks

Production of masks

The production of masks focuses on making expressive masks for actors playing a role. The mask can be made from different materials.

Production of masks comprises the following:

• plaster casts
• types of masks for different forms of theatre
• untraditional materials
• theatre masks in relation to the target group, including for children with multicultural backgrounds
• Planning, carrying out and assessing the production of theatre masks with children, young people and adults
• drawing/sculpture

Theory

Today, acting with masks comprises both traditional forms of acting and more advanced forms of expression. Theory deals with theatre masks as a form of artistic expression and as an educational work form in a cultural history context.

Theory comprises the following:

• the mask in theatre history
• functions and characteristics
• theatre masks in different cultures
• acting practice with masks in a theoretical perspective

Subject didactics

Subject didactics focuses on working with masks in situations adapted for learning purposes. For children, young people and adults, acting with masks does not only represent an extension of theatrical expression, but may also be an important means of practising acting skills.

Subject didactics comprises the following:

• theatre masks in drama pedagogy contexts
• different instruction strategies
• leading and guiding acting with masks
• planning, carrying out and assessing acting with masks with children, young people and adults
• mask theory in relation to play, creativity and creative activities
• analysis of practical work

Language of instruction: Norwegian

The purpose of this course is to further develop the students’ practical competence in psychomotor physiotherapy, both individually and in groups. The course provides a theoretical and practical basis for the significance of relations and communication in clinical practice. Practical training period 2 is started during this course.

After completing the course, the student is expected to have achieved the following learning outcomes defined in terms of knowledge, skills and general competence:

Knowledge

The student:

• has knowledge of the unique aspects of directing, instruction and performance in acting with masks
• is capable of selecting masks based on the context of use
• has the knowledge to further develop acting skills with different types of masks in different contexts
• has knowledge of how to develop a directing concept for acting with masks
• has knowledge of theoretical and didactic aspects of acting with masks
• has knowledge of masks in theatre history, ethnic and cultural contexts
• has knowledge of the use of masks in a theatre production

Skills

The student:

• has skills in acting, directing and instruction with different types of masks in different contexts
• is capable of making masks that work on stage
• is capable of developing a dramaturgical and visual understanding of the mask and space
• is capable of analysing, documenting and assessing practical artistic work
• is capable of using different search tools to find sources for assignments and project work
• is capable of assessing and referring to specialist literature that can shed light on an issue

General competence

The student:

• has developed both artistic and educational skills in instructing and guiding children, young people and adults in work involving acting with masks
• is capable of planning, implementing and assessing mask productions for the target groups children, young people or adults
• is capable of discussing artistic choices and contributing to the development of good practice
• is capable of communicating important theories, issues and solutions in the field, both orally and in writing
• is familiar with new thinking and innovation processes in the field of mask theatre

The student must have been admitted to the Master’s Programme in Health Sciences - Specialisation in Psychomotor Physiotherapy, and hold Norwegian authorisation as a physiotherapist. The students must have passed the courses MAPFY4100 and MAPFY4200.

It is assumed that the student has access to a practical training establishment/own place of work where they can perform psychomotor physiotherapy treatments on patients.

The course is process-oriented and based on the students’ own activities, practical as well as theoretical. Much of the course will consist of practical work on mask production and acting. This includes playing and experimenting with masks as well as experiencing and creating mask theatre.

Different masks require different acting styles. Continuous training in acting with different types of masks will be facilitated.

The students will receive individual and group-based guidance in making masks that are performable and in acting with different masks. Providing instruction for fellow students’ performances with masks is another necessary work form.

Different forms of work and documentation are used in the programme. Most of the work will take the form of workshops and seminars, with independent discussions and testing of ideas. Lectures and talks will be linked to practical work and theory. Practical exercises will be linked to the development of own expression/acting training and to perfecting the use of different theatre mask methods.

If there are English-speaking students on the course, it will be taught in English.

The following coursework is compulsory and must be approved before the student can sit the exam:

Compulsory attendance at teaching activities:

• a mask performance for children
• develop and present one mask play. (Students who have documented valid absence during parts of this group project will be given an opportunity to carry out an individual project in agreement with the lecturer, in order to sit the exam.)
• participate in at least four internal group performances
• attending professional theatre productions that use masks

The students must cover expenses linked to mask-making. See the teaching plan for more information.

Mandatory attendance

The students cannot be absent for more than 20% of mandatory teaching and supervision activities.

The exam in the course is threefold:

1.Continuous assessment- individual

Through practical-theoretical work, the student shall develop skills that demonstrate study progress and activity during the learning process. The students cannot have more than 20% absence in this work. The following two practical assignments constitute the basis for assessment in the course:

• making a mask, participation and acting, including first performance for children
• participating and acting with neutral masks, larval masks, half-face masks and participating and acting in a ‘solo mask performance’

The assessment is based on the following criteria:

• The quality of four masks made during the course (the student chooses the four masks to be assessed)
• The extent to which the student demonstrates satisfactory assessment skills and insight in acting with masks

The assessment counts for 20% of the final pass grade. The result of the exam cannot be appealed.

2. Written development assignment - individual The assignment must be based on an issue linked to acting with masks and relevant theory. The assignment should be approx. 3000 words (+- 10%).

The development assignment counts for 40% of the final pass grade. The result of the exam can be appealed.

3. Practical performance exam - group Assessment of performance with subsequent oral problematisation, discussion and assessment. Three weeks’ preparation time is given.

The assessment is based on the following criteria:

• the artistic quality and suitability of the performance in relation to the target group
• the group’s reflections on and analysis of the performance
• the ability to assess their own work with respect to both process and product
• the execution of the masks

The practical performance exam counts for 40% of the final pass grade.

The result of the exam cannot be appealed.

In some cases, the practical/oral group exams can be held as individual exams.

All parts of the exam must be awarded the grade E or better in order for the student to pass the course

All aids are allowed as long as the rules of source referral are followed.

Grade scale A-F

1. Continuous assessment - individual.

The assessment is made by two examiners. The course may be selected for grading by external examiners.

2. Development assignment - individual.

Assessed by one internal examiner and one co-examiner that assesses a selection of the assignments. The course may be selected for grading by external examiners.

3. Practical performance exam - Group.

The assessment is made by two examiners. The course may be selected for grading by external examiners.

Niels Peter Underland

After completing the course, the student should have the following learning outcomes defined in terms of knowledge, skills and general competence:

Knowledge

The student

• can analyse and discuss professional issues related to communication and relationship in therapeutic interaction
• can assess the use of group-based approaches and when such treatment can be appropriate

Skills

The student

• can apply psychomotor physiotherapy principles in group treatment
• can assess and evaluate treatment processes and their own role as therapist
• can analyse therapeutic interaction in treatment settings
• can assess their own role in interdisciplinary cooperation

General competence

The student

• can analyse and reflect on communication and interaction in clinical practice, individually and in groups
• can analyse and critically discuss relevant problems related to relations and communication in clinical practice
• can lead group treatment based on psychomotor physiotherapy