Critical Reflection On Mask Performance
In this Critical Reflection about our Mask Performance I will display not only the process of creation as a team, but also what I learnt from it and what my inspiration was, to come up with the ideas and to develop them. In addition, I will reflect the improvements that could had been done and the different approach of the task now it is completed. Firstly, I wanted to create an extraordinary piece that provoke a feeling in the audience, and as a team we agreed that our intention was to make the assembled spectators laugh. Starting from the point of launching different ideas and using as main ingredient the improvisation, we developed different small representations to see which one works better. To find out that, we took in account the compenetration between each other and always the opinion of the outside eye (one of us observing the performance). The outside eye is a concept I learnt throughout the course and that we put in practice very often as it helped us in great amount to cut parts of the play that weren't necessary, add an idea, develop certain moment of the piece or change the dynamic of it. My main influence to create
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Being part of a mask theatre play include the responsibility to leave ones persona, be completely neutral and start creating a new persona. Looking back to the piece, I created a mask with a meaning to me, a persona that I couldn't identify before and now I do, someone with specific gestures and movements. Once completed the creation, a large process full of spending time with the mask, I put this persona in the piece of the play. This same process includes the developing of the counter-mask and making both work together, if possible. Analysing the different components (mask volume, clarity, focus, inner monologue), I think our play included almost all of them, and maybe the component that was in less amount was the
Being part of a mask theatre play include the responsibility to leave ones persona, be completely neutral and start creating a new persona. Looking back to the piece, I created a mask with a meaning to me, a persona that I couldn't identify before and now I do, someone with specific gestures and movements. Once completed the creation, a large process full of spending time with the mask, I put this persona in the piece of the play. This same process includes the developing of the counter-mask and making both work together, if possible. Analysing the different components (mask volume, clarity, focus, inner monologue), I think our play included almost all of them, and maybe the component that was in less amount was the