The use of masks in the rehearsal process: a professional problem

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dc.creatorPotts, Katherine E.
dc.date.accessioned2016-11-14T23:09:23Z
dc.date.available2011-02-18T23:38:55Z
dc.date.available2016-11-14T23:09:23Z
dc.date.issued1996-12
dc.degree.departmentFine Artsen_US
dc.description.abstractThe theory developed by this study, although certainly involving the actor, is written primarily for the director. The director is the driving force of the production. It is he who molds the rehearsal process, makes decisions about how time is utilized and synthesizes all of the production elements into a cohesive whole. In order to accomplish this, directors must develop a variety of strategies or methods. This study will provide a variation on traditional directing techiHques by using the mask as an impetus for gesture, movement and emotional intensification in the rehearsal process. A fresh directorial approach is needed in order to utilize the mask in the rehearsal process. Dean and Carra in their book Fundamentals of Stage Directing hst composition, picturization, movement, rhythm and pantomimic dramatization as the director's media. All of these elements are extemal, cogrûtive functions on the part of the director. Ironically, Dean and Carra, and most writers on directing, list the physical expression of the actor last. Since the extemal life of the character, the gestural world, is the last to be perfected, it is not surprising that it is often the least developed part of the performance.
dc.format.mimetypeapplication/pdf
dc.identifier.urihttp://hdl.handle.net/2346/20333en_US
dc.language.isoeng
dc.publisherTexas Tech Universityen_US
dc.rights.availabilityUnrestricted.
dc.subjectActing -- Study and teaching
dc.subjectActors
dc.subjectImprovisation (Acting)
dc.subjectMasks
dc.titleThe use of masks in the rehearsal process: a professional problem
dc.typeDissertation

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