III Leather Mask making and creating

The laboratory proposes an immersion in the universe of the theatrical mask exploring sculpting techniques such as the manipulation of plaster, modeling in clay, cartapesta, wood carving and leather pull.

From January 21th to February 15th of 2019

Hours: Monday to Friday from 10:00am to 6:00pm

Where: Centro de Pesquisa da Máscara

Address: Rua Bamboré 518, Ipiranga neighborhood, São Paulo – SP

Investment: u$d 830 (International students can pay bank transfer, credit card or the first day of the course).

Open for subscriptions!

About the program
Workload

120 hours

Professor

Fernando Martins

Target Audience

Theater students; actors; dancers; clowns; performers; visual artists, set designers, custom designers, aderistas.

Course Objectives

This Laboratory of international character comes to fill a gap existing in the development of artists of the most varied areas of our continent: the creation and confection of the mask in leather. The uniqueness of these masks is due not only to their functional and organic characteristics – to the actor who takes them as a second skin – but also to the wide variety of materials and techniques involved in their production. For no other reason, leather was used as raw material by generations of masked sculptors from the commedia dell’arte to Amleto and Donato Sartori, as well as by actors from Tristano Martinelli to Dario Fo.

The starting point is the problematization of the mask element in the history of communities and their unfolding in human life. The aim is to understand how it has been established in theatrical production since its origins. After analyzing their phenomenology, participants will be prompted to design and create their own masks by drawing, sculpting, and studying a context in which the character / mask is inserted. From then on, sculptural techniques will be revisited, among which the modeling, the reproduction of mold and countermold, papietagem, carved in wood, repudiates in leather so that each participant can produce a theatrical mask in cartapesta and another one in leather.

In the process of sculpture are approached fundamentals of the three-dimensional structure, the morphology of the mask, methods of reproduction in plaster and exploitation of materials. Finally the masks are placed in a situation of play through exercises of improvisation and creation of small scenes.

Course Schedule

First stage: project design

  • Introduction to the mask theme: historical-anthropological approach.
  • Introduction to the main types of theatrical masks.
  • Mask and space: idealization of the space in which it will be used.
  • Mask and light: idealization of the incidence of light in the morphology of the mask.
  • Mask and dramaturgy: creation and analysis of the dramaturgical conditions from which the character emerges.
  • Mask and character: elaboration and analysis of the psychological and physical characteristics of the character.
  • Notions of primary and secondary states. Notions of mask and countermask.

Second stage: conducting studies

  • Elaboration of studies through drawings.
  • Elaboration of studies with sculptural materials (clay and resins).
  • Elaboration of scene studies.

Third Stage: modeling

  • Creation of measurable model: the positive face in plaster
  • The clay: experiments with material.
  • Bases of the three-dimensional structure: notions of lines and planes, volume formation, measurements and
  • morphology.
  • Execution of the sculpture: modeling in clay.
  • Reproduction methods: molds in plaster.

Fourth stage: the cartapesta

  • Introduction to the technique of the cartapesta: the papietagem in negative.
  • Bonding and pressing the layers of paper.
  • Textured materials.
  • Painting in dark light.
  • Skating.
  • Accomplishments.

Fifth stage: wood notch

  • Measuring systems
  • Emersion of the model and point 0.
  • Succession of plans.
  • Lamination of wood.
  • Introduction to the use of the ax.
  • Introduction to the use of gouges in u, l and v
  • Introduction to chisel use.
  • Sharpening techniques.
  • Notch.
  • Sanding systems.
  • Perimeter cutting.

Sixth stage: leather

  • Types of tanning.
  • The choice of leather for each mask.
  • Treatment of leather.
  • Methods of dyeing.
  • Introduction to repudiation tools.
  • Repel the leather.
  • The inner part of the mask.
  • Varnishes and lacquers.
  • Wrapping it up, paintings and patinas.

Seventh: actor-sculptor and sculptor-actor

  • Introduction to the usage of mask.
  • Scenic exercises with masks performed.
  • Creating small scenes.
  • Show and final fraternization.
Investment

u$d 830 (International students can pay bank transfer, credit card or the first day of the course).

Contact us: contato@centrodepesquisadamascara.com

Contact Information

Rua Bamboré, 518 – Bairro Ipiranga
CEP: 04278-060 – São Paulo SP – Brazil
contato@centrodepesquisadamascara.com
Tel / Fax: +55 11 23687906

Professores
Professor