Masks that allow you to see the character 360 degrees in the space before the screen. They are worn over the head, the face is free allowing you to see your shadow at all times.
Where: In my studio in Jerusalem or at your place.
Duration: 3 hours minimum. 2 hours for building the mask and another for moving with the mask and creating shadows.
Materials: Can be built entirely from cardboard. Thick perspex or plastics will do. Rubber foam. Scissors. Japanese pen-knives. Masking tape. Drawing pens or pencils. Hot glue gun. Cellophane colored paper if you want to add color.
For the screen and lamp consult with me.
My early work with Shadow Masks:
The first time I worked with Shadow Masks was in Argentina, back in the 70's, when I was part of a group working under the direction of Arch. Beppi Kraus de Newbery who had been invited by the Collegium Musicum of Buenos Aires ( 1965-1975) to explore the relationships between sound and movement on stage. Beppi had studied in the Academy of Fine Arts in Vienna and I remember her telling us about the art of Lotte Reiniger as a big influence on her.
Beppi founded what was to become one of the first Shadow Theater groups in Latin America: "TRANSPARENCIAS" (1,2).
When I joined in 1967 we created a whole shadow play based on the Sumerian epic of Gilgamesh. We used masks, projections, 3D models and our bodies. The screen was 2.70m x 2.70 m.
The masks were made from metal mesh and worn flat against the face which we had to keep parallel to the screen, pretty uncomfortable. The above 3D masks have the advantage of allowing acting facing the screen.
Below photos from the 1972 show "The epic of Gilgamesh" at the Collegium Musicum of Buenos Aires.
Years later ( I was not any more in the group ) they worked on an ancient Mayan story, 1194 AD, " La Princesa de San Nicte" and made beautiful shadow masks:
1. Lenguajes escénicos by Beatriz Trastoy, Perla Zayas de Lima. Prometeo Libros Editorial, 2006
2. Teatro de Sombras. Mane Bernardo. Editorial Actilibro,Buenos Aires. 1991