Theatre Design & Technology - Winter 2005 - 34

and I like to construct and invent along with the technicians. I
spend time with them, talk with them, I want to know everything about the lights, about the various possibilities of actual
stage construction. I'm not interested in a single solution, an
act of repetition. This is true in general of my artistic activity.
I'm always ready to change. I've also made many mistakes because I've tried to break out of a fixed pattern. A performance
can't be repeated forever if it functions well. I prefer to throw
myself into the search for renewed expression as an artisan,
not as a demigod" (Martin 1984, 24).

COMMERCIAL ARTISTS AND COLLECTORS
Acquisitive tourists can find masks in markets worldwide because traditional mask makers often make copies of their
work to supplement their income. Koukeri masks (mummer
masks) can be found in Eastern European villages, especially
during the mummer celebrations; Mexican Day of the Dead
devils and saints masks can be purchased in Mexico and in
parts of California; Korean and Japanese masks are available

at traditional sites of ritual performance; and carnival masks
are for sale everywhere during the boisterous celebrations in
New Orleans, Trinidad, Cuba, Brazil, and Venice. These commercial masks usually emphasize the mask maker's imaginative use of artifice in a general way while the ones that define
unique portraits or personalities, masks that can function in a
successful performance, are reserved for a specific situation
or performer. Of course, masks constructed for commercial
purpose can possess their own integrity, although the quality
of craftsmanship and expressiveness usually depends on how
much the buyer will pay.
At least half of the twenty mask makers I have interviewed
supplement their income by selling replicas or versions of
their work to tourists or to universities teaching masked performance techniques.
Korean master Kim Dong-Pyo has a reputation for his authentically-based, hand-carved Hahoe masks. These masks
evoke humorous servant/master archetypal characters, similar in spirit to the Italian commedia dell'arte characters. His
masks (along with those of several other mask makers I interviewed) are found in a number of museums. Queen Elizabeth
requested a viewing of Kim's Hahoe masked performance of Pune

Bruce Marrs
United States
✶
When asked what he does in preparation for making his masks Bruce Marrs
responded, "I prepare while waiting in line to buy coffee, while taking a shower,
while looking at a great work by an Egyptian sculptor four thousand years old, or
a painting, or a mask by a better mask maker. I begin by gathering the clay or
other materials and tools. I try to give my mental idea some room to grow. A
sense of line may be connected to a feeling that has been nudging me for a while.
I've got to let that feeling take form through the body, to give my arms the groove,
or the stroke. Imagination is a mystery. Sometimes it follows the feeling.
Sometimes it leads. Sometimes it surfs on the crest of the feeling. Then, with a
little work done, that work looks back, seems to want to go some way, wants
more, wants less. At this point the work is in charge, not me."

✶ (contact: marzilla@netzero.net)

TD & T

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2005

Contents
Theatre Design & Technology - Winter 2005 - 1
Theatre Design & Technology - Winter 2005 - 2
Theatre Design & Technology - Winter 2005 - 3
Theatre Design & Technology - Winter 2005 - Contents
Theatre Design & Technology - Winter 2005 - 5
Theatre Design & Technology - Winter 2005 - 6
Theatre Design & Technology - Winter 2005 - 7
Theatre Design & Technology - Winter 2005 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com