The Actor's Mask
According to Boal, there are certain techniques and activities that the actor can implement to have an effective performance. Before anything, the actor pauses time, figuratively, to realize what their body is doing while performing. For example, if your character is protesting, you must re-enact it using your body first then in your mind and ponder upon the muscles that were used. Additionally, the actor can do the same with taste. For the memory aspect, Boal recommends that you continuously remember a minute of your life and replay it with extreme detail. The purpose of this activity is to get the actor to reconnect with some emotions that they may have lost and also understand where their character is coming from. When it comes to emotions, the actor must be able to destroy his own, otherwise known as the “actor’s mask” in order to let the character they are playing prosper. This is done through a process called ‘emotion memory’. The actor remembers a specific time when he or she underwent a similar experience. If no similar experience is found, then look for one that produced the
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This is why Boal states that it is vital for the actor to rationalize the act. He or she must understand what are the underlying factors producing the emotion. Us actors must understand that a fundamental aspect of theater is the conflict associated with the interaction between characters. There must be a will and a counter will. The will is what the character wishes to achieve. Their will must have an objective and a subjective taste. For example, one protesting to get a law enacted is the objective side. By adding an emotional reason behind it, it can become subjective. The counter will must always be present and be an obstacle in the way of the character’s will. For example, our activist’s counter-will is the power and influence that money has on the
This is why Boal states that it is vital for the actor to rationalize the act. He or she must understand what are the underlying factors producing the emotion. Us actors must understand that a fundamental aspect of theater is the conflict associated with the interaction between characters. There must be a will and a counter will. The will is what the character wishes to achieve. Their will must have an objective and a subjective taste. For example, one protesting to get a law enacted is the objective side. By adding an emotional reason behind it, it can become subjective. The counter will must always be present and be an obstacle in the way of the character’s will. For example, our activist’s counter-will is the power and influence that money has on the