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This educational guide has been developed
to assist the elementary classroom teacher in providing information
concerning Contemporary art and the IMAGO performance. It is hoped
that the classroom teacher will find this guide and lesson ideas
beneficial. Information for this educational guide was compiled,
written and edited by Kathy Friend, CCP North Project Coordinator
IMAGO
Come with Imago (rhymes with Chicago), formerly "Theater Mask
Ensemble," to a world of live human animation, where fantasy
and ultra-realistic illusion are the height of entertainment. The
masks/costumes are ingenious, the music is original, and the performers
are masters of mime, dance and drama. All come together in imaginative
performances that move from the whimsical to reflection and back
again. Jerry Mouawad, Carol Triffle and company are trained in the
renowned Lecoq approach to mime theater, contemporary dance, physical
comedy and traditional mask styles. They add their own inventive
variations with American flair, to create characters that are more
than human and stagings that defy categorization. Is it theatre,
mime, comedy, dance, special effects or illusion? It's a provocative
sojourn into the familiar and unknown.
IMAGO provides a creative blend of a variety of arts including
drama, mime, dance, visual art and music. Through the use of mime
and masks, scenes unfold for the viewer. Legends, myths and stories
are presented in a creative and animated form. The mood of IMAGO
is set through the use of silence or diverse sounds such as folk
music from Bali, Italy and Indonesia, movie scores or rock and roll.
Visual arts are utilized in the creation of the masks and costuming.
Traditional masks as well as contemporary forms are used to encourage
the viewer's imagination to take over and allow the illusion to
be "real".
Our Contemporary Art Theme is uniquely supported by IMAGO
through its ability to combine and blend the arts of drama, dance,
mime, music and visual. Drama and comedy are brought together. The
use of illusion, engineering, architecture and physics are incorporated
into the performance.
Included in this educational guide is:
A brief history of theater, mime, masks, dance.
An introduction to IMAGO, the company, the artists and performances.
Ideas to be used before and after the performance
Suggested educational activities.
Examples of mime, legends, literature and masks.
Note: Younger students need to be told by their teacher that
IMAGO is a human play and that the characters are not real.
The masks are designed for the stage.
A BRIEF HISTORY OF MIME
Mime is a creative dramatic expression,
usually without the use of words. The similarities between mime and
spoken acting includes: an imaginative actor; a dramatic composition
involving character, conflict, theme and story; an audience and a
commitment to the material being presented. It could be considered
silent acting. However, mime has a style of its own. Today, the terms
mime and pantomime are interchangeable. Mime is centered around the
philosophy of detailed simplicity.
Mime is considered one of the earliest mediums of self- expression.
It was first used as a part of formal theater in the Orient. Mime
has been a part of the national theater in both Japan and China. The
Greeks later used mime as a form of acting in conjunction with dance.
The traveling jester was one form of mime viewed during the Middle
Ages. During this same time, church dramas also used a form of mime
in the miracle plays. Mime was reborn in Europe during the Renaissance.
The court jesters and clowns as seen in Shakespearean comedies allowed
the mime form to continue. By the 19th century, mime had become a
familiar theatrical form as seen in the Noh theatre in Japan, the
Commedia in Italy, the melodramas in France and America. Three styles
or schools of mime emerged from the forms developed in the Orient,
Italy and France.
Mime in America is eclectic and blends many styles. American mime
suggests the emergence of a fourth school of mime.
It is a melting pot with much experimentation.
Basically, there are two major types of mime: literal and abstract
or a combination of both. These types are evident in all the schools
of mime.
Literal mime is primarily used for comedy and story theater. Literal
mime generally tells a story with a conflict through the use of a
main character. The actions and visual design clearly tell the viewers
the story which is usually humorous.
Abstract mime is used to generate feelings, thoughts and images from
a serious topic or issue. Normally there is no plot or central character.
It is considered a more intuitive experience or image rather than
literal actions.
A BRIEF HISTORY OF DRAMA AND THEATER
Drama originated with early people
using rhythm, music and dance to worship nature, the harvest or a
successful hunt. Stories grew out of these peoples imitations of nature
and their gods. The stories became important for viewing rather than
for religious ceremonies and literature evolved. Drama is a type of
literature that tells a story through the dialogue and actions of
its characters and is designed to be performed for an audience. The
story or play can be serious and are referred to as tragedies. Play
that emphasize the ridiculous and are comic are called comedies. Some
plays have a mixture of both characteristics such as the melodrama
or the tragicomedy.
A theater is a place, indoors or outdoors, where people perform before
an audience. The term "theater" means action and is many
times connected with performances on a stage by live actors as well
as film and television.
Greek drama is thought to have influenced the course of modern playwriting
more than the drama of any other culture. Greek drama originated from
religious festivals and rituals. Roman drama was based on the Greek
models. During Medieval time the church used dramatic scenes in its
services to more clearly illustrate religious teachings. With the
Renaissance, new ideas and drama forms were introduced. Shakespeare
was considered an outstanding playwright of this time. Drama has evolved
with the use of a variety of writing including neoclassicism, romanticism,
realism, naturalism and expressionism.
Early American drama was based primarily on the English model. 20th
century American drama has included the emergence of the little or
art theater. The little theater allowed for more creative drama without
the pressure of commercial interests. The off Broadway and off-off
Broadway theaters have encouraged the development of regional companies.
By the 1960's, American playwrights began to address the concerns
of ethnic and other groups. In the 1970's and 1980's, some dramatists
created "performance pieces". Performance pieces stress
the importance of images, movement and music or other sound rather
than dialogue. Their purpose is to stir thought and increase sensitivity
through associations aroused in the minds of the audience.
A BRIEF HISTORY OF MASKS
"God has given you one face
and you make yourself another" - William Shakespeare
A mask is a face made in any form the mind can imagine and once a
mask is put in place a transformation takes place. The mask wearer's
appearance is immediately changed and his new face empowers him to
amuse, to perform or even frighten.
Historically, the primitive and ancient mask makers were highly respected
by members of their society. Masks often took months to complete.
The imagery of the mask was diverse with the use of faces of animals
(real or imaginary), ancestors, deities and spirits to invoke things
such as rain and plentiful crops. Masks were used for rites of passage,
cure of diseases, entertainment and storytelling.
The classical masks of Comedy and Tragedy originated from the ancient
Greeks. These masks have become a universal symbol of theater. The
Greeks introduced the mask to theater as a means of representing human
types and personalities rather than spirits or supernatural beings.
The Roman masks were usually more grotesque and exaggerated in order
that the audience might more readily recognize the role of the actor.
Masks continued to be used during the Middle Ages in Europe for religious
plays, festivals and pageants. Intricate theatrical masks are produced
in the Orient and continue to be used in the depiction of dragons,
demons, ghosts and gods. The Pacific Northwest masks used in the Kwakiutl
Indians myth ceremonies are unique in that these have numerous transformations
with one mask being multi- layered to expose for example a bullhead
which opens to reveal a raven which then opens to expose a human face
mask.
Today, the professional mask-maker primarily works in theatrical production
for plays and dances contemporary mask makers rely on the inspiration
of traditional styles of masks. Common and readily available materials
such as paper plates, grocery bags, fabric, cardboard and newspaper
can lend themselves to the creation of a face of fantasy.
BASIC COMPONENTS OF A MIME PERFORMANCE
1. A performer must be able to
devise an idea, experience the idea and communicate the idea to
an audience.
2. An idea should be a topic with much potential for development.
3. The space used is usually an empty or neutral area.
4. The audience which views the mime is alert, supportive and
sensitive. 5. Physical and performance techniques are utilized
by the mime performer. This might include the use of music or
abstract sounds.
EXAMPLE: COMPONENTS OF A MIME PIECE
A Mime piece is made up of sections,
units and beats.
Story: The Big Date
Sections:
I. Getting ready
2. Leaving the house
3. Driving to the date
4. Arriving at the date's house
Units: For Getting Ready
1. Looking at the clock
2. Running to the shower
3. Taking the shower
4. Drying Off
5. Running to the dresser
6. Rummaging through the dresser
7. Getting dressed
8. Looking for a lost shoe etc.
Beats: For Taking a shower
1. Pull back the shower curtain
2. Turn on the shower
3. Step into the shower
4. Close the shower curtain
5. Reach for the cloth
6. Reach for the soap
7. Scrub the body quickly
8. Turn off the shower
9. Open the curtain 1
0. Step out of the tub 1
1. Reach for the towel
12. Dryoff
A BRIEF HISTORY OF DANCE
From the beginning of prehistoric
times, dance has served as one of man's most useful tools. Historians
tell us that the spiritual needs of early man probably prompted or
initiated, what could be termed, man's first dance-oriented movements.
The magico-religious aspects of early man were a dominant feature
in his existence and tended to cross-over and influence many areas
of his life.
In general, we can define dance as being a movement ritual-a series
of abstract or symbolic movements executed in either an unpremeditated,
spontaneous, or preconceived, organized manner. Dance is a rhythmic
movement of the body. The word "dance" probably comes from
the old High German word danson, meaning to "stretch out".
Historically, dance has functioned to:
1. obtain spiritual gratification and fulfillment;
2. acquire and maintain health through spiritual requests;
3. ceremonialized all life-crisis events, such as birth, puberty and
death; 4. make supplication and give thanks for successful hunt, a
bountiful harvest and all other aspects of life critical to man's
survival;
5. strengthen and maintain community cohesiveness when engaged in
social and recreational purposes;
6. fulfill man's needs for artistry and beauty through its use as
an entertainment medium.
Contemporary dance includes a blending of modern dance and ballet
as well as improvisation, non-dance movements such as marching and
acrobatics, abstracted themes and multimedia combining film, light,
and diverse music.
IMAGO'S PERSPECTIVE: MASK THEATRE
IMAGO'S perspective and theatre presentations
have been influenced by various historical developments within theatre
and its use of masks.
From classical Greek tragedy to the potlach ceremonies of the Northwest
Indians, masks have fascinated, intimidated and entertained people
throughout the world. Although it is not the traditional art in the
United States that it has been for centuries in other cultures, mask
theatre has had an influence on our American life. For example, the
street theatre of Italy and Europe certainly set the stage for our
improvisational comedy and the American slapstick movies. Those in
the Pacific Northwest are touched frequently by the influence of the
Kwakiutl Indians, whose masks and woodworking skills are mirrored
in the Indian art of our communities.
Modern mask theatre is a combination of mime, dance and ritual, which
is an art form in itself. A mask allows an actor to change into an
entirely different being. As the actor changes, so does the mask itself.
It is a magic experience for the artist and audience alike.
The use of masks in the tribal and ceremonial rites of Northwestern
Indian, Indonesian and African cultures have many common elements.
With their rich traditions of mythology, folktale and legend, these
cultures illustrate the important events in their histories with masks,
special effects, puppets and mechanical devices.
The masks used in these ceremonial theatrics were ornately carved,
painted and frequently inlaid with shell or glittering pieces of metal.
Bark or fur might have been used to represent mustaches and hair,
and many of the masks had movable parts for the eyes and jaws that
could be opened and closed. Mythological creatures such as monsters
or animals were well-represented and many featured the more spectacular
elements of mask making and movement.
Commedia del Arte was undoubtedly the most popular form of entertainment
in 16th century Italy. This type of drama was almost entirely improvised
and could be adapted to almost any playing condition. The actor was
the most important element of Commedia. The word Arte signified that
the Commedia actors were professionals, in contrast to the amateurs
who performed neoclassical dramas at courts and academies.
The script was merely a scenario that summaries the principal action
and its outcome. The actors improved much of the dialogue and developed
the plot complications as the situation seemed to demand. The troupes,
often composed of several generations of the same family, traveled
from place to place, often using wagons for both transportation and
staging.
Another basic characteristic of the Commedia was the set of stock
characters that appeared in all the plays with the same actor always
playing the same stock role. These characters often had the same name
in the scenarios and can be divided into several types:
-The straight roles were the lovers, who
usually did not wear masks and were costumed in the fashionable
garments of the day.
-The comic character roles who wore characteristic masks and costumes
for instant audience identification. Three of the most common
were Pantalone, a miserly old merchant; Capitano, a boastful,
foolish solder; and Dottore, a pedantic bore who was usually a
doctor or professor.
- The comic servants, know collectively as zanni, were usually
the most popular characters. The male zannia, called Arlecchino
or Harlequin, was the most adept of the Zanni. He had to be an
acrobat, musician, and a comic. Arlecchino is identified by his
use of a white skull cap, black half-mask and a suit with diamond-shaped
patches.
According to Eitenne Decroux, a mast and
teacher of mime and illusion, the art of mime is outside or rather
beyond all instinct. To develop it, one must do all the supple and
strong exercises; the mind must be constantly awake and aware; one
needs a good will without defiance or weakness, and an ideal in
one's heart.
IMAGO embraces the rich past of theatre and ceremonies and utilizes
these within their contemporary presentations. The company successfully
combines the use of masks, mime and movement.
ABOUT THE PROGRAM
Using a blend of illusion, mask and
mime, IMAGO's artists bring to life a multitude of creatures that
defy gravity and anatomy. They invite you to suspend beliefs and enjoy
humorous and surreal experiences.
The performances for the children's program is composed of pieces
selected from the following repertoire:
Frogs:
One or two frogs finds it difficult keeping
up with the leaping antics of his colleagues. This delightful
amphibious illusion is IMAGO's signature piece that has been seen
throughout the world.
Walks:
In a playful series of crossovers the troupe
demonstrates the many ways people walk, and how through walks
we can understand what a person is like. The company selects a
group of students that join the performers on stage in a light
hearted sequence of mimicking one another's walks.
The Bus Stop:
With a group of students, the company introduces
the audience to how a mask can come to life. With comedy masks
from Switzerland, the group of people waiting at a bus stop in
which they always miss the bus.
The Backwards Man:
In a clever distortion of the human body,
a mask is placed on the back of the head. In this solo it is hard
to distinguish up from down or back from front.
Metamorphosis:
These unusual abstracted human/animal creatures
introduce students to the dramatic power of the mask, recreating
for their eyes a surrealistic view of the animal world.
Larvabatic:
One of IMAGO's most popular works features
a worm performing incredible acrobatic feats. In this illusion,
our eyes see one thing, but our mind wants to see another.
The Man/Frog Legend:
This piece is an adaptation of a Kwakiutl
Indian story from the Northwest Coast of America. Two performers
tell the story of a man who hides in a frog skin to improve his
hunting skills. But each night the man finds it more and more
difficult to remove the skin. The piece concludes with a dance
of a transformation mask. This special effects mask is a startling
depiction of a man caught in a frog's body.
Ball:
IMAGO will offer this new piece to their
exciting repertoire. This giant sphere takes on a number of shapes
and entities. Is it vegetable, mineral or extraterrestrial?
Slinky:
With hula hoops, swimwear fabric, wooden
dowels, foam and plywood, a mother Slinky and her child are brought
to life with the magic of IMAGO.
Oskar:
This piece honors Oskar Schlemmer, a German
artist and choreographer of the Bauhaus movement who in the 20's
depersonalized dancers by means of masks and fantastic costumes.
Monkeys:
Enjoy the movements and actions of monkeys
as they scamper around the stage. The humor of the monkeys and
their antics make this Imago piction quite special.
BEFORE THE PERFORMANCE
The live performance scheduled with
Imago is designed to both entertain and instruct. In order to prepare
students for this event, it is important to stimulate interest in
the various areas of performing and visual arts and to provide historic,
geographical and cultural background.
1. Discuss drama and the use of mime. Have
the students demonstrate gestures or movements that communicate
common ideas
2. Show the students pictures or examples of masks used in different
cultures.
3. Discuss the differences between using theatre and dance in
a ritual and using it for entertainment purposes
4. Read some of the legends from various cultures such as Indonesia
or the Northwest American Indian tribes.
IMPRESSIONS AFTER THE PERFORMANCE
Questions to stimulate discussion
of the performance could include:
1. Did you understand the actors even though they weren't speaking?
2. Give some examples of how the actors communicated with each
other without using words.
3. Describe the sounds and music used in this performance
4. What props or costumes did the actors use?
5. Which stories or scenes did you like best? Why?
6. How did the actors express emotions?
7. Which scene(s) utilized illusion? What was done to create this
illusion? 8. How do the sounds relate to the movements? ...to
the story?
THE FORM FOR A BASIC MIME CRITIQUE
The following questions can be
used to initiate discussion concerning a specific Image story or
scene.
Objective
Was the purpose of intent of the piece achieved?
Literal
Was the story told in a visually interesting manner?
Was the piece visually interesting to watch?
Was the audience moved in some way?
Abstract
Was the audience left with a feeling for the piece?
Was the audience left with an understanding of the message or point
of view being made?
Was the piece visually interesting to watch?
Was the audience moved in some way?
Imagination
Was the piece imaginatively presented?
How else could the artist have presented this piece?
Was the image of the performer(s) imaginative?
Stage Presence and Presentation
Did the performer(s) take command of the stage?
Was the focus of the piece clear and easy for the audience to follow?
Did the performer have physical control of the piece?
Was the stage space well used?
Did the performance have vitality, freshness, and spark?
Did the group seem to work well together artistically?
Did the piece have a beginning, a flow, and a conclusion?
Did the piece have rhythmical variety - fasts and slows, staccato
and smooth movements, others?
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