Unit 1 part A - arts practice

Bertolt Brecht's use of masks in theatre


Brecht (1898-1956) was one of the most influential twentieth century playwrights. Brecht's approach to theatre was unusual for its time. He believed that theatre should not attempt to portray real life but instead to represent life. Over a period of a few years Brecht developed Epic Theatre which was a theatre style which produced distance between performers and the audience viewed a performance in an objective way. Brecht's aim was to prevent the audience from becoming attached to characters so that they would focus better on the storyline. The audience were constantly reminded that the actors were not the characters by getting the actors to use techniques such as breaking the fourth wall where the actor would speak directly to the audience. Actors would also come out of character to update the audience on what was about to happen, and would often deliver their lines in the third person.


The use of half masks were common in Brecht's performances as a method of preventing the audience from feeling empathy for the characters. Their presence reflected his acting style themes which focused on separation, alienation and social change.


History of masks in theatre


The Ancient Greeks used masks in theatre as a way to worship and depict mythological gods. They used exaggerated and over large masks which were fitted around the actor's mouth and aided him to project his voice. It was the Ancient Greeks who set a route for the making and use of theatrical masks. The easily recognisable comedy tragedy masks that still represent theatre today originated with the Ancient Greeks.


During the middle ages of 12^th and 13^th centuries in the time of the mystery plays masks were used in performances to exaggerate a character. As mystery plays were frequently written by church priests and focused on getting a message across to the public about the wickedness of sin and the ways to redemption the masks were usually grotesque depictions of Satan and his workers. They were usually made out of papier mache and were highly detailed.


In 15^th century Venice during the height of the renaissance period Commedia dell Arte was created as an art form and consisted of improvised comedy which included characters wearing extremely ridiculous and grotesque masks. Half masks were used by actors performing Commedia dell Arte whose main themes revolved around fear of life, death and everything.

Unit 1 part A - arts practice

My main art form -

These are some examples of my current art form.  I like to use a variety of  different styles in my illustrations.

My new art form - 

These are some mask designs I created for when I attended the felt masks workshop. 

My new arts style - 

These are the finished masks.  They were created with felt and I used two of the sketches above as inspiration.

Unit 1 part B - the wider arts sector

When I started the Gold Arts Award I was unsure if I wanted to pursue art or drama as a career.  I hoped that doing this award would help me to decide and also give me an in depth look at both the career paths.  I visited two colleges - Manchester College and Stockport College.  I was shown what students do in the art and design courses and also examples of work from the students.  I was also shown around the drama departments and saw samples of the students work.  I saw one video of a performance that some students had put on in one college and then saw a live performance from students at the other.  I found that I was impressed by the drama department at one college but not as impressed by its art department.  I also found that at  the other college I was impressed by their art department but not their drama department.  This made my choice of college a lot easier.  I found that the artwork I saw did not seem to give the students  much room to expand or experiment.  I also found that the art styles used were all so similar it was hard to tell one student's work from another.   I decided to pursue drama as I did not like the idea of my art being restricted and controlled.  I decided to continue spending my free time drawing what I want, enjoying it and improving my styles in my own way.  I applied to Manchester College to study drama on the Acting BTEC level 2 course. I had an interview and an unexpected audition but  luckily I already had a monologue prepared from my drama GCSE course.  I found that the interview was very strict and it made me realise that there would be no room for slacking on the course.  I started the one year course in September at the age of 15 because they accepted me onto the course a year early. I plan to go on and do the Drama BTEC level 3 next September and then my aim is to attend RADA or another drama school.

As well as studying the BTEC level 2 I am attending other classes which are relevant to a drama career. Once a week I attend Urban Stage drama classes for children aged 12-16. We are in the process of rehearsing for a production of Animal Farm by George Orwell which we will be performing next Easter.

I have also started attending latin and ballroom classes for adults once a week with Heather Durose Dance. I am enjoying learning jive, tango and waltz but I find the samba and cha cha cha very hard. I definitely prefer ballroom dances. The dance classes are hopefully going to give me a better chance of getting parts in productions in later years as it is definitely a useful skill to add to my CV.

I also attended a second willow weaving course where I made a vulture. I found this a lot easier the second time and think I improved my skills greatly because I was able to use the skills that I had learnt in the previous workshop.  I had already researched plague masks and found them useful in designing my willow weave vulture.

I am constantly improving my art and design skills with online tutorials.  Here are a few tutorials I have found very useful.

• Water tutorial by ryky
• Sky and clouds tutorial by KokoZhang
• Skin tutorial by navate - Part one and Part 2
• Hair tutorial by Rin-Shiba
• Eye tutorial by acidlullaby 

The information on the course that I am currently doing can be found here  http://www.themanchestercollege.ac.uk/school/courses/performing-arts-drama-2

The information on the course I am starting in September 2014  can be found here

http://www.themanchestercollege.ac.uk/school/courses/performing-arts-acting-3

The information for the degree course I am working towards can be found here

http://www.theatre.mmu.ac.uk/courses/ba-acting/

Unit 2 - arts project leadership

Project report

Outcome
In total 40 children created some wonderfully imaginative masks. Each child was working on their mask for 30-60 minutes. As each child completed his or her mask another child would take the available space. All of the children were extremely well behaved and thoroughly engrossed in what they were doing. All of the masks were unique with the exception of two yellow chick masks produced by two children sitting next to each other. I was surprised that this did not happen more often but the children on the whole showed that they had great imaginations.

Feedback from participants
As the children were mostly 5-6 years old I had to keep the questions that I asked them brief, simple and easy to understand. Most of the children would not stand still long enough to answer the questions and ran off to play with their new masks. I asked a few of the children several questions:

1) What did you like most about this workshop?
I liked that there was a theme so that I didn't have to think of something to make.
I like the feathers.
I liked being able to make an animal in any colour I wanted.

2) What did you like least?
The fact that I had to use human shaped masks.
I had too much choice. I would prefer to be told to make a particular animal – perhaps a choice of two different animals.
I wanted to use scissors to cut my mask into a different shape.

3) What could have been done differently?
To be given a choice of animals rather than any animal would have made it easier for me to choose.
I wanted to make a horse mask but didn't have the right equipment to change the shape on the mask.
I needed more space to work. I think there were too many kids working at one time.

4) What other equipment would you have liked to have available?
Sequins, glitter, drinking straws, scissors.

How could I improve this workshop
I could have used a larger work space or have fewer children working at one time. Six children at a time would mean I could pay more attention to each child's needs. I found that I was running around from child to child rather than spending more time with each child in order to give encouragement and advice.
I had a helper to supervise the children but I needed at least one more helper, although there were not any around at the time. With only six children participating this would not have been a problem.
I think I coped well with the children. They were quite demanding but happy and the fact that they were engrossed meant that they behaved well.
I was intending that the masks would be worn for the end of play scheme party but the children took the masks home and did not bring them back today. I should have kept the masks at the work space and handed them out at the party.

Unit 2 - arts project leadership

Children's play scheme animal mask workshop


On Thursday 28^th August I hosted a workshop for children aged 5-11 at a local charity-run play scheme where I had worked as a volunteer helper for three weeks. I set up the work table before the children arrived because it would be easier to get all of the equipment needed set up and in place without them being around.


As soon as the children arrived the 12 available spaces filled up. The children had been told about the workshop the day before so that they could start thinking about what kind of animal mask they wanted to make.


Instructions
To start them off I told them that if they needed any other equipment or help that they must come to me. I deliberately did not include scissors in the available equipment and told the children that they could rip tissue paper and craft paper rather than cutting it as it would create a more authentic look to their animal masks. I made it clear that if anybody misbehaved their place would be taken immediately by another child as I had many others waiting to make masks.


I gave them a very loose brief as to what to do. I talked them through the equipment, paints and decorations available and told them that they could create any animal in any colour, either realistic or fantasy, that they wished.


Despite having quite a large group of children at the workshop and only one helper I was able to spend brief amounts of time with each child and was available to answer questions and help them if there was anything that they did not fully understand or were unable to do. My instructions were delivered in stages. I gave the children one instruction at a time. I did find that they all worked at different paces and so some of them were ready for the next instructions before others. Instead of waiting for them all to catch up I let those who were ready move on to the next stages so that they were able to finish their masks, leave the table and make space for those children who were waiting to take part. I did not find that any children had a problem deciding what kind of masks they were going to make and once their decision was made they were eager to begin. They were all able to follow my step by step instructions easily although some needed help with gluing. I also had to constantly tidy up the paints, water, glue, etc on the table so that tools and equipment were easy to find.


The group leader was very positive about my idea for a mask workshop and when I gave him a list of materials that would be needed he bought them straight away. I have worked with him for three years now so he knows me well enough to understand that I am capable of keeping the children under control and focused. One of the younger volunteer helpers chose to come and help with the workshop and I explained how it was going to progress before the workshop began so that she knew what to expect and what would be required of her. She was very supportive and helped me to keep an eye on the children's needs as well as making sure that none of them left the table unnecessarily before they had finished their masks.



I did not experience any unexpected situations during the workshop other than the fact that so many children wanted to be involved. I had expected only a handful of them to be interested enough to take part. I explained to them at the beginning of the workshop what their finished masks may look like and suggested various ways of decorating them. They all listened carefully to me and were quiet and attentive while I was talking. They were animated and talkative but well behaved while they created their masks and a few of them appeared to be helping others with ideas.

Unit 2 - arts project leadership

Play Scheme Mask Making Plan

I am currently working at local children's summer holiday play scheme as a volunteer and I have been given permission by the scheme leader to run a mask making workshop with a group of around 12 children. The age range of the children who attend the play scheme is 5 – 11. I will be able to accommodate a maximum of 12 children as this is the number that can fit around the table safely and comfortably. If the uptake is considerably higher than 12 children I can repeat the workshop on the same day with a second or third group of 12 children. I plan to run the workshop in the play scheme space on 29^th August as the following day is the last day of the scheme when a party takes place where the children will wear their masks.

The theme for the workshop will be animals. I feel that if I limit the participating children to a choice of just a few selected animals their imaginations will be restricted. Similarly if I offer them no theme at all the end products would be very disjointed as a collection.

Materials
For this workshop I will need to get:-

mask bases (full or half face)
coloured feathers
animal print paper for detail
tissue paper
plastic fake gems.

I am able to use some materials that are part of the play scheme supplies:-
PVA glue
poster paints
beads
full face mask bases
tissue paper in limited colours.

Documenting and feedback
I plan to record the workshop by taking photos of the children making their masks at various stages and will also take photos of them wearing their masks in a tableau at the end of the workshop to show off their creations and the animals' characteristics.

After the workshop I will briefly interview each child to get feedback and to find out what worked well and what could be changed and how. Questions will be as follows:-
How well did I explain each stage?
Would they have liked other materials to use which were not available?
If yes, what other materials should be included?
Was there anything they did not understand?
If they could choose a theme for making a mask what would that theme be?
What part of the making process did they like the most?
What part of the making process did they like the least?

Health and safety assessment
Health and safety regulations are already in place for the play scheme which is funded by BBC Children in Need.
There is at least one qualified first aider present at all times.
The helpers and the children all know what to do if the fire alarm goes off and the fire doors are unlocked at all times.
The work table will be around 5 metres away from the fire door.
If a child needs to leave the table for any reason there are other helpers available to take them to wherever they need to go, enabling me to be present at the table at all times.
The materials that will be available to use during the workshop have been carefully selected.
I will not be using glitter because it it hard to monitor the children when they use it and they often end up throwing it at each other rather than using it constructively. I have also observed some of them trying to eat it, which is a health and safety risk.
The children will be supervised at all times and I can call on other helpers to intervene if required.

I had planned that once the masks had been made they would remain overnight at the play scheme. The following day was the end of play scheme party and the children were going to be allowed to wear their masks and be in character for some of the time, acting out their particular animals. However, other play scheme workers were not aware of these plans and so they allowed the children to take their masks home the day they made them and despite me telling the children that they would be wearing their masks to the party none of them brought them with them the following day to the event.



Some of the children who were involved in the mask making workshop went home early before I had a chance to interview them so as to gain feedback. I was able to collect feedback from some of the children who were available. Their responses were simple and direct because of their young ages. They were all enthusiastic and positive. I collected feedback by asking them questions and writing down their answers.

Unit 1 Part C: research and review

The Package by Tam Hinton

On 17^th June I went to see a small company perform The Package by Tam Hinton in The Studio at the Lowry in Salford. The performance was restricted to over 15s and the audience consisted of around only 20 people in a space that would hold 150. The cast consisted of six actors including two women and four men. The props were minimal. There was a magazine which was used throughout the play but with a variety of magazine covers. There was a record player. There were two tables and six chairs which remained on the stage for the whole performance. Unrequired props were removed by the cast. There were no costumes as such but all of the men wore comical socks with suits whose trousers were slightly too short. The two women wore ordinary black dresses, one of which was ground length but was pinned up to make a mini skirt when required.

Each actor had several characters to play, each one offering the challenge of producing very different accents. On occasion this got a little confusing if one of the actors forgot to apply the correct accent or to change their body stance according to their character. One of the female actors had to play the part of a very young woman who was in love with a record player and could not form relationships with humans, but she also had to play a very old woman. Her body language, facial expressions and pitch of her voice demonstrated the age of her characters.

All the actors forgot their lines at least once but each of them had different ways of covering up their mistakes. Some attempted to make it seem natural by moving on quickly. This was a good way of covering up their mistakes but they forgot their lines so many times it soon became obvious what they were doing because there were always pauses that were a bit too long before they applied a cover up technique. Another way of covering up their mistakes was to stammer and mutter as though looking for a way to describe what they were trying to say. I think that this was a good way to cover up their mistakes because it seemed natural and normal but once again it happened too many times not to be very noticeable.

The acting in the Package was not the best acting I have ever witnessed. It was a confusing play that included many long words that were hard to say and even harder to remember for the cast. I think that the complex language used may have lowered the standard of the acting although with more preparation it could have been greatly improved. The play left me feeling rather confused and with more questions than answers. It was an extremely surreal play that was hard to follow. The writer was constantly attempting to shock the audience by pushing moral boundaries and I felt that the audience were not comfortable with some issues raised. I think that the play was well written at the beginning but as it progressed the writing became almost careless as though the writer wanted the play to be finished. The convoluted language tapered off towards the end of the play creating an imbalance because the main aspect of the characters' personalities were the words that they used. So the lack of complex language being inconsistent prevented their characters from continuing to be the same.

From watching this performance I realized how important it is to know your lines and those of the other players more than perfectly. I also observed techniques to use if and when I do forget my lines and I intend to use them where necessary. 

On reflection I think that visiting various local art galleries and being present at some rather unusual theatre performances has definitely influenced the way that I look at art and performing arts. By visiting galleries I have been able to look at some of the most famous Pre Raphaelite paintings that are recognisable to many. They have been reproduced as posters, prints, postcards and greetings cards. By looking at the original paintings I have been able to see the brush strokes, the subtle finer details that would hardly be visible on a reproduction and appreciate the true colours. I have been surprised by the sizes of some of the paintings I have seen. Some are much smaller and others much larger than I had imagined them to be. I have also been to exhibitions by artists who are not well known in this country but who are big in their own countries. I have been to small theatrical performances with only a handful of actors who have also written, produced and performed in the plays. These are the productions that really appeal to me. I prefer them to the huge and lavish expensive to produce plays and musicals such as those that reside in the West End of London. I feel that these productions are so expensive to put on that the ticket prices are exorbitant and restrict a lot of people from being able to enjoy them.


Having attended exhibitions of famous paintings as well as those of lesser known artists I much prefer the less mainstream shows. I find the art more interesting and more experimental. I can say the same thing for the theatre performances that I have attended this year. I find that not only is the writing more dangerous and boundary pushing but also the performances are more exciting and electric. As well as this, the audiences at these small venues create a more intimate and inclusive atmosphere which I find more enjoyable.