New Orleans, LA

assuming the character expressed in each face. A variety

of characters springs to life, including some who speak,

wearing Commedia dell’Arte style half-masks. Full

masks are sometimes worn on the top or back of the

head, transforming the performer into creatures on all

fours or creating distortions that baffle the eyes and

tickle the funny bone. Through the parade of almost

twenty characters, the audience will also glimpse

human nature at its silliest and most poignant.

Creative Process of the Artist or Culture:Robert Faust is interested in the emotional content

and movement possibilities inherent in a mask. His

mask-making evolves from one of two processes. He

may begin improvising in clay, forming the structure of

a face. A certain feature or feeling emerges, and he

follows it to complete the mask. Or he might have an

idea for a specific character and try to capture the

character’s tension and emotion using line and shape.

Once the mask is finished, he must ‘listen’ to the mask,

allowing the visual image to translate into body movement.

Mr. Faust begins his rehearsals with a mirror. After he

has a grasp of the physical look of the mask, he turns

away from the mirror and

works from inside himself,

using his memory of the image

to evoke the inner life of the

character.

“A mask is a megaphone to thesoul, to the emotions, amplifyingwhat is going on inside.”

Background Information:Robert Faust, actor, athlete, dancer, choreographer and

mask-maker, is the founder and Artistic Director of

Faustwork Mask Theater. Born and raised in New

Orleans, he experienced the color and pageantry of

Mardi Gras throughout his childhood, youth and college

years. Through his studies he discovered mask-making

and came to realize that the carnival characters that

annually paraded the streets of his hometown were actually

works of art rooted in theatrical traditions. In 1980,

he joined Pilobolus Dance Theater as a performer and

choreographer, later serving in these capacities for the

renowned Martha Clarke Company. He founded

Faustwork Mask Theater in 1983, creating and producing

The Mask Man, The Mask Messenger, Faustwork In

Concert, and Cello Man. Mr. Faust makes all the masks

used in Faustwork’s performances. He has also created

masks for The Opera Ensemble of New York, A.C.T.,

Pilobolus, Momix and Kirk Company’s Miss Spider’s

Wedding.

About The Artwork:The Mask Messenger is a solo performance about masks

that simultaneously entertains and educates. The set is a

wall of masks exhibited at the center of the stage. After

a brief introduction about masks throughout the world,

the performer begins to demonstrate his power by

removing the masks from the wall one by one, and

Title of Work: “The Mask Messenger”

Creator:Producer: Faustwork Mask TheaterArtistic Director: Robert Faust b. 1950

MUSICMUSICTHEATRE

Connecticut

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PROCESSES

1. CREATING (Cr)

2. PERFORMING, PRESENTING, PRODUCING (Pr)

3. RESPONDING (Re)

4. CONNECTING (Cn)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

Photo: Gary Gunderson

Robert Faust

Sample Experiences:LEVEL I• Ask students to describe

festivals, celebrations and/or

rituals in which they

have worn masks.

(Halloween, Mardi Gras, “El

Dia de los Muertos,”

Chinese New Year, etc.)

• Look at pictures of masks

from cultures around the

world: Greek and Roman

masks; African masks; Egyptian

masks; Native American masks and totems; Oriental

masks; Mexican, Central American and South

American Masks.

• Make a two-sided mask which shows contrasting

feelings on each side (happy/sad, good/evil). Create

character movement to bring the mask to life!

LEVEL II• Practice communicating nonverbally using body

language and facial expressions to project emotions

such as fear, anger, love, hate and sorrow.

• Learn how to operate from a neutral base to explore

different body shapes: tight, loose, open and closed.

• Choose literature with animal characters such as

Aesop’s Fables, Wind in the Willows, Barar, Miss Spider’s

Tea Party, etc. Construct animal masks to use for

story theatre productions.

LEVEL III• Examine metaphors which allude to mask references

and design masks to illustrate them.

• The Mask Messenger offers insights into the artistic,

psychological, and historical aspects of the mask.

Have students do their own research on masks and

write a report on a mask tradition.

• Study the Italian theatre style, Commedia dell’Arte,

and make half-masks for selected commedia characters.

• Using any of the masks made in this unit (two-sided

masks, animal masks, mask metaphors, commedia)

create an original pantomime vignette featuring the

mask character in the manner of the Faustwork

model. *

*

*

*

Discussion Questions: After the video or live performance has been viewed:• Have you ever watched or participated in a mask

performance? Describe it and your feelings about it.

• What masks in Faustwork Mask Theater’s

performance did you like the best? Why?

• Did any of the masks astonish or surprise you?

• Did any of the masks frighten or alarm you?

• How did the performer change his body movement,

gestures or posture for the various mask characters?

• Which mask would you like to put on and bring

to life?

• How does the concept of transformation apply to

the use of masks?

• Are masks powerful or magical? Why?

• What situations have you been in when you’ve had

to mask your true feelings?

Multidisciplinary Options:As a device for theatre, masks evolved from religious

practices of ancient Greece. The first masks were

used to impersonate a god. Compile a list of Greek

gods and goddesses, noting their attributes or

symbols. Example: Apollo, god of light, music and

healing carries a lyre; Athena, warrior goddess, wears a

helmet and carries a spear and shield. Read a

selection of Greek myths exploring their stories and

journeys. What kind of characters were they?

Construct a mask which seems to embody the

personality of a particular god or goddess using a

variety of materials.

Audio-Visual Materials:Artsource® video excerpt: The Mask Messenger, in-

school performance footage courtesy of Faustwork

Mask Theater.

• Photos: courtesy of Faustwork Mask Theater.

Additional References:• Earl, Amanda and Sensier, Danielle. Traditions

Around the World: Masks. Thompson Learning, New

York, NY: 1995.

• Tuchman, Maurice. Masquerade. Chronicle Books,

San Francisco, CA: 1993.Indicates sample lesson

2

Photo: Gary Gunderson

3

ABOUT MASKS

The original significance of the mask has been forgotten in the ‘civilized’ world. Today we talk of ‘tearing themask from someone’s face’ or ‘unmasking’ him, meaning that we have removed his disguise and exposedhim for what he really is. But the mask was once far more than a mere figure of speech. Its use in ritualdances was an important aspect of the religious and social life in cultures all over the world.

In Africa a mask is far more than a facial covering. It includes the costume and adornments worn on thebody as a bond between a group of people and their ancestors. The tradition of using masks goes backto time immemorial, according to scholars, but since most masks were made of perishable materials, onlythose which were made of bronze and terra-cotta date back several centuries. Across the continent, everytribe had a mask-making history which served some function or ceremony. In current traditions in theWest African tribes of the Dan, Guere and Wobe, masks are worn only by men - and are passed downafter death so the power of several generations may accumulate in an old mask. Supernatural powers aregiven form in the mask, and consequently, when the mask is worn, the wearer, too, is seen as a super-natural being.

Within the Indian cultural sphere, notably in Sri Lanka and Tibet, masks are used in ways which mayseem strange to Western minds. Ceylonese masks represent demons of sickness. It is believed that bysome mysterious means, the demons can be driven away once they have been made visible in the formof masks, and the illness is then cured. Similar ideas seem to have existed in India and Tibet.

The American continents are also rich areas for masks. The Inuits and the Indians of the Northwest coastof the United States made masks of extremely high artistic quality. Masks often take the form of animals,sometimes representing a totemic ancestor or the ‘spirit helper’ of a shaman (a type of medicine-man).In the ancient civilizations of Mexico and Peru, death-masks were fastened to the mummies of the dead.The gods, too, were often depicted as masked figures.

As a device for theater, masks evolved from religious practices of ancient Greece. The first masks wereused to impersonate a god and were made primarily of animal skins. As these ceremonies became moretheatrical, the masks became more elaborate. The traditional masks depicting Tragedy and Comedy arederived from Greek theatrical traditions.

One advantage of using masks in a performance is that they can be seen from a distance because they areoften larger than the human head. To use a mask an actor must be well trained, since the actions mustbe large and clear and complement the character of the mask. Vocal projection within a mask alsorequires great skill and the ability to express a range and depth of emotions.

Masks today still hold enchantment and fascination. In some parts of the world, the mask still retains adeep and complex meaning in tribal cultures. We, too, may experience the thrill of masquerading onHalloween, Mardi Gras, or by simply playing “dress up” and stepping into another role or identity.Faustwork Mask Theater celebrates the ancient art of the mask and its roots in theatre by taking it to anentirely different, almost startling dimension.

4

MAKE A MASKTRANSFORMATION

LEVEL I Sample lesson

INTRODUCTION:

Just as facial expressions can be used to show particularemotions, masks can be used in the same way. Manymasks are simple to make and can be used to explore opposite feelings - happy/sad, angry/forgiving, good/evilor mean/kind.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Make two-sided masks which will show two different,contrasting feelings. (Creating)

• Work with the masks to create character movementwhich communicates two different feelings.(Creating & Presenting & Performing)

• Describe, discuss, analyze and connect information andexperiences based on this lesson. Refer to Assessment atthe end of this lesson. (Responding & Performing)

MATERIALS:

• Paper plates, paper towel spools, yarn, buttons, cotton or felt scraps, crayons, markers, scissors.

PROGRESSION:

• Discuss the pairs of emotions suggested in the introduction. Allow children to experiment with some

of these feelings in an exercise and observe how their facial expressions change. Ask, for example, how

they would feel if they lost a favorite doll or broke a treasured toy. Have them ‘make a face’ to show the

feeling. Then have them change their expressions to show how they feel when they open birthday or

holiday gifts.

• Next, pass out mask-making materials, giving two paper plates to each child. Have students choose a

pair of opposite feelings to depict, one on each paper plate. For example, if one plate shows a happy face,

the other should show a sad face. Make sure that each child chooses two distinct and contrasting feelings

to express before they begin their artwork.

• When the drawings have been completed, the students may color them and adorn them with any

Faustwork Mask TheaterPhoto: Gary Gunderson

THEATRE

5

variety of materials: glitter, colored glue, crepe paper, material, yarn, etc. Then fasten the masks back-to-

back with glue, tape, staples, etc.

• Next make a slit in the end of the paper towel spool. Position the masks in the slit of the spool which

then becomes a handle to hold the masks in front of the face and to flip from one expression to the other.

• Now ask students to find a space where they can move freely. In pairs, allow students to improvise

movement to complement the expressions on the masks, creating two separate mask characters.

• Share selected presentations with the class.

EXTENSION:

• Make paper bag masks, perhaps based on folktales, fairytales or nursery rhymes and enact your ownmask theater.

• Make a self-portrait mask and present a pantomime based on ‘a slice of your life,’ or a particular eventor personal ritual.

• Create a parade of the masks made in your classroom. Choose a theme and then compose a paradeanthem and play accompaniment on handmade instruments. Perform a ceremony or rite to illuminateand celebrate your theme.

VOCABULARY: mask, character

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe the mask you made and the materials you used.

DISCUSS: Discuss the different combinations of opposite feelings selected for individual masks. Listadditional combinations of feelings which could be used.

ANALYZE: Think about the way the body felt and looked for specific emotions such as happy, sad, angry,afraid, etc.

CONNECT: Describe the relationship between the emotion intended on each side of the mask and thebody postures and movement selected to project each emotion.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

TO ESTABLISH CRITERIA FOR THIS TASK AND CREATE A RUBRIC: See the information inthe Addenda.

6

LEVEL II Sample lesson

INTRODUCTION:

Faustwork Mask Theater explores a wide range of physical expression involving the whole body. Theartists train rigorously to maintain the strength and flexibility required for the shows’ movement and choreography. This ability, coupled with originality and imagination, helps create a variety of characterswho express emotions universal to us all.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Operate from a neutral base to explore the concepts of tight, loose, open and closed. (Creating & Responding)

• Discover and express different body shapes and project a range of emotions through this exploration.(Creating & Performing)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Responding & Connecting)

MATERIALS:

• A hand drum.

PROGRESSION:

• Ask the class to find a space where each student can move freely. First have students establish a neutralbase, which means standing in a balanced position, feet slightly apart, arms at their sides, level head andeye focus.

• Tell them that you are going to direct them to change their body shape by using a drum and countingin sets of three to guide the flow of physical change.

Example: 3 counts to change;3 counts to hold the new shape; 3 counts to return to neutral.

• Next, discuss some of the ways our bodies may respond to the words: TIGHT, LOOSE, OPEN,CLOSED. Now try exploring these words in expressive movement. Use the drum and the phrasing ofyour vocal energy to help direct the students’ movement.

BODY LANGUAGETRANSFORMATION

THEATRE

7

Go from neutral to TIGHT. Return to neutral.

Go from neutral to LOOSE. Return to neutral.

Go from neutral to OPEN. Return to neutral.

Go from Neutral to CLOSED. Return to neutral.

• Now combine the elements:

Go from neutral to OPEN and TIGHT. Return to neutral.

Go from neutral to CLOSED and TIGHT. Return to neutral.

Go from neutral to OPEN and LOOSE. Return to neutral.

Go from neutral to CLOSED and LOOSE. Return to neutral.

• How did the contrasting physical conditions reflect inner emotional states? Do some body positionslend themselves to expressing certain feelings? Give examples. How can these discoveries or observationshelp you in working with masks?

EXTENSION:

• Increase the difficulty of this exercise by adding the element of traveling or moving through space oneach of the three-count sets. Travel forward on OPEN and LOOSE. Retreat on TIGHT and CLOSED.

• Divide the class into two groups. Group A travels towards Group B on 8 counts, and Group B does thesame towards Group A. Repeat retreating on 8 Counts. Then have one group travel forward on 8 countsand the other retreat on 8 counts, reversing roles each time.

• Add emotions to the movement. Advance feeling joy; retreat feeling sorrow. Advance feeling curiosity;retreat feeling fear. Advance feeling free; retreat feeling oppressed.

• In pairs, have students put on their masks and move as their characters would to the various body shapesuggestions and emotions.

• Try changing the combination so that OPEN is combined with TIGHT and LOOSE is combined withCLOSED. Explore the new possibilities and discuss the differences with the original way you combinedthem.

VOCABULARY: choreography, neutral base, body shape, mask, character, traveling

Faustwork Mask Theater

8

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe the differences between each of these body positions (tight, loose, open, closed andneutral).

DISCUSS: Discuss the different feelings and emotions you associated with OPEN and LOOSE asopposed to TIGHT and CLOSED.

ANALYZE: Think about the differences between OPEN and LOOSE and TIGHT and CLOSED.Discuss the things you can do to create variations in each. (Change levels, turn part of your body awayfrom or toward the audience, add gesture, change the speed you use to change from one to the other.)

CONNECT: Discuss the connections between a neutral position and a position which expresses specificemotions. Give examples of when this happens in your life.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

TO ESTABLISH CRITERIA FOR THIS TASK AND CREATE A RUBRIC: See the information atthe end of this unit.

9

LEVEL III Sample lesson

INTRODUCTION:

The English language is full of metaphors that employ maskreferences. Often these expressions conjure a mental imageof a person’s facial expression or reaction. These descriptivephrases can be points of departure for creative mask design.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Quote a number of metaphors which allude to mask references. (Responding & Connecting)

• Create mask designs to illustrate and illuminate selectedmetaphors. (Creating & Presenting)

• Describe, discuss, analyze and connect information andexperiences based on this lesson. Refer to Assessment at theend of this lesson. (Responding & Connecting)

MATERIALS:

• Paper, pens, markers, crayons, scissors, paint, brushes or various art materials.

PROGRESSION:

• Read the following sentences and have students pick out the mask metaphors in each one:

John really put on a false front for the press. We all knew his true colors.

With a smile plastered across her face, the manager walked into the room full of angry customers.

My chin fell to the floor when I saw the bill!

Just keep a stiff upper lip, and you’ll get through the ordeal.

The dumbfounded clerk returned a blank stare when the robber demanded all the money in the drawer.

MASK METAPHORSTHE HUMAN FAMILY

THEATRE

Faustwork Mask TheaterPhoto courtesy of Faustwork Mask Theater

10

• Ask the students to contribute other expressions they have heard which contain mask references. Put

the list on the classroom whiteboard.

• Next, use these figures of speech for literal illustrations. For example, a false front could be illustrated

by a character carrying a full-sized, two dimensional likeness of himself as he walks down the street.

A blank stare could be any visage in a completely neutral expression. Other metaphors which refer to a

particular feature like the mouth or eyes could be exaggerated or caricatured in the mask designs. Caption

each mask design with the appropriate metaphor.

• Mount the mask designs for a classroom display.

EXTENSIONS:

• Use the designs to make masks employing different media, i.e., clay, papier mâché, paper bags, etc.

• In pairs, improvise short scenes using the masks. Create character voices, walks, postures, gestures, etc.,which complement the physical appearance of the masks.

VOCABULARY: metaphor, mask, character

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe each of the metaphors and the various meanings and implications of each.

DISCUSS: Discuss the different ways that people mask their true feelings.

ANALYZE: Think about why mask references have become part of our vocabulary in describing emotions.

CONNECT: Discuss the relationship between mask references and expressions and images depictingthem in mask designs.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

TO ESTABLISH CRITERIA FOR THIS TASK AND CREATE A RUBRIC: See the information inthe Addenda.