Intimacy, Community, and the Milonga

It is a mark of the experience of the leader of our workshop that by the end of the second day, our group has developed a level of “community comfort” that is unusual unless the moderator/leader actively strives to develop the types of bonds (or conflicts) that they consider conducive to the work.  In our work, it is necessary to feel capable to take risks and be comfortable with the context to make good work.  In an ordinary class structure this level of relationship usually takes about two weeks to evolve without specific catalysts.  For me, I decided Bruce Marrs would be allright when he mixes plaster without a lot of anal precision – by look and feel.  I actually got to mix the first batch, and it seemed all wrong to me – and it turns out it was.  It had gotten too humid and portions of it had actually set and made little rocky bits throughout that wouldn’t mix in at all.  

I have never been able to suss out exactly what it is about creative endeavors and theater in particular that supports a level of openness – at least in communities that are focused on the work and not on the fame game.  I’m quite sure there are few contexts in life that individuals who have known each other for less than 48 hours will be examining the most intimate details of their life and identity like we all did tonight applying the brown paper strips to our plaster face positives.

Then we had an impromptu tango lesson as our workshop teacher is multifaceted in their creative outlets and at one time was a dancer and now also plays tango music and is playing tomorrow night.  

Second Day at Dell’Arte Mask Workshop

Beginning with community rite – hold hands and step into circle

Exercise – pushing at a low level instead of standing up

Throwing the Ball – and Oompah/Vortex ball exercise

A variation of the Wooosh game only using clapping as base action

Then instead of moving into mask performance as we did yesterday, we went to mix plaster and pour our faces in positives so they could cure by the afternoon and we could squeeze in a neutral mask made of brown paper mache.  
Pouring:  No. 1 casting plaster; apprx ratio 1:2 water to plaster
                  “the hawaii mountain” pouring method of measuring 
                   pour from forehead into lower face
                   vibrate – slapping
                   holding carefully ( or in sand ) 
PaperBAG  Mache 
               vaseline positive surface – wet strips of brown paper bag – hand torn crunkled up
                 wall paper paste – layering  

Afternoon Mask Work:
               Finished paper plate entrances
               Did paper plates with a “group mask” entrance and a ‘bit’
               Did characters with entrances