Cambridge
TECHNICALS
OCR LEVEL 3
CAMBRIDGE TECHNICAL
CERTIFICATE/DIPLOMA IN
PERFORMING ARTS
MASK – MAKING IN THE
PERFORMING ARTS
T/502/5626
LEVEL 3 UNIT 51
GUIDED LEARNING HOURS: 60
UNIT CREDIT VALUE: 10
mask making in the performing
arts
T/502/5626
LEVEL 3 UNIT 51
Aim of unit
The tradition of mask dates back to prehistoric times yet it
continues to be a powerful performance tool. The skill of
the mask designer/maker enables them to promote the rich
tradition of mask worldwide, crossing all language barriers
and accessing a range of cultural diversity. The aim of this
unit is to develop learners’ knowledge and understanding
of the construction and use of masks within the performing
arts. To this end, learners will research, design and construct a
mask/s. An accompanying portfolio will illustrate the creative
and evaluative journey that the learner has undertaken
throughout the unit.
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2
Mask – making in the Performing Arts Level 3 Unit 51
ASSESSMENT AND GRADING CRITERIA
Learning Outcome (LO)
The learner will:
Pass
Merit
Distinction
The assessment criteria are
the pass requirements for
this unit.
To achieve a merit the
evidence must show that, in
addition to the pass criteria,
the learner is able to:
To achieve a distinction the
evidence must show that,
in addition to the pass and
merit criteria, the learner is
able to:
The learner can:
1 Know how to collate
research findings
P1 produce some evidence
of research into
historical, cultural and
ethnic masks
2 Be able to generate
design ideas
P2 generate some design
ideas related to the
research
M1 produce some
evidence of research
into the use of mask in
contemporary theatre
P3 produce, with
guidance and support,
an investigation
of techniques
and methods of
construction
M2 discuss the advantages
and disadvantages
of methods of
construction within
the process of mask –
making
3 Know how to use
materials, construction
and decorative
techniques
P4 use resources and ideas
in the final design(s)
to communicate an
effective interpretation
of the stimulus material
and character
M3 evaluate the
effectiveness of the
final design(s)
4 Be able to construct
masks from designs
P5 construct masks that
are fit for purpose
and relate to the
performance material
M4 evaluate the durability,
comfort and impact
of the mask under
performance conditions
3
D1 explore a range of
decorative finishes
within the process of
mask making
Teaching content
The unit content describes what has to be taught to ensure that learners are able to access the highest grade.
Anything which follows an i.e. details what must be taught as part of that area of content.
Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply
relevant examples to their work although these do not need to be the same ones specified in the unit content.
Know how to collate research findings
------
• Where and how to locate research within a range of
resources, including:
-- Books
-- Magazines
-- Periodicals
-- Internet
-- DVDs
-- Photographs
-- Paintings
-- Live performance
-- Museum collections/visits
-- Education packs
-- Contemporary and past production programmes.
• Theatrical use and purpose of mask within a range of
performance genre, including:
-- Greek and Roman theatre
-- Mummers
-- Mystery and Miracle plays
-- Commedia dell’arte
-- Balinese dance
-- Chinese Festivals
-- Japanese Noh theatre
-- Ballet.
• Development of the use of mask by a variety of
practitioners, including:
-- W.B. Yeats
-- Bertolt Brecht
-- Eugene O’Neill
-- Arden
-- Luigi Pirandello
-- Edward Gordon Craig
-- Jacque Lecoq
-- W T Benda
-- Mary Wigman.
• Construction methods and materials
• Cultural significance
-- Ceremony
-- Ritual
-- Paganism/Christian
-- Shamanism
-- Burial
-- Rites of passage
-- Initiation
-- Hunting
-- Warfare
-- Protection.
• Mask within contemporary performance, e.g. Trestle,
Strange Face, Ophaboom, Tut’Zanni
• Historical and geographical background
-- Pre historic
-- Egyptian
-- Mycenae
-- Aztec and Inca
-- Greek
-- Roman
-- Anglo Saxon
-- North and South American
-- African
-- Japanese
-- Chinese
-- Venetian
-- Korean
-- Balinese.
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Indian
Sri Lankan
Switzerland
German
Austrian
• Consideration of the use of mask within learner’s own
performance work
-- Improvised performance
-- Text where mask is specified as a performance element
-- Text where mask is not specified but could add a
further creative dimension to the performance.
• How to record, organise, present and store research
Be able to generate design ideas
• Generating ideas.
• Reflecting and evaluating research – designs, materials and
construction.
• Establishing purpose and context.
4
Mask – making in the Performing Arts Level 3 Unit 51
• The use, advantages and disadvantages different types of
mask for performance
-- Full face
-- Half mask
-- Full head
-- Eye masks
-- Body masks
• Designing for a specific performance and/or character
• Performance and text – consideration in terms of:
-- Genre and performance style
-- Purpose – what, where, why, when, who.
• Considering the character
-- Purpose of the mask
-- Type of mask – genre and performance style
-- Necessary measurements
-- Reflecting on research
-- Designing the mask
-- Presenting the design
-- Type of material(s) and construction
-- Consideration of other creative production elements
-- Materials and methods of decoration for chosen
medium of construction.
• How to realise a design on paper
• Experimenting with contemporary methods of
construction
• Health and safety considerations for construction and
finished mask
-- Easy to make masks – paper bag
-- Paper plate
-- Balloon
-- Paper headband.
• Consideration of common problems
-- Adjusting mask to fit
-- Design/mask is too complex
-- Standing up to ‘wear and tear’
-- Repairing mask
-- Fit for purpose, is it artistic rather than theatrically
functional.
• Experimenting with more sophisticated methods and
techniques
-- Clay masks – using a pressed mould
-- Slip cast mould
-- Building over a clay form
-- Plaster masks
-- Pressed plaster
-- Poured plaster
-- Paper masks from plaster moulds
-- Papier-mâché –pressed papier-mâché
-- Layered papier-mâché
-- Cloth mache
-- Buckram masks
-- Wire masks
-- Vacuum formed
-- Mixed media.
• Budget
-- Costing construction materials and decorative finishes
• Evaluate final design
-- Cost
-- Time management
-- Impact
-- Practicality for wearing
-- Comfort
-- Durability
-- Fulfilling theatrical purpose/function
-- How does the mask work in conjunction with
production elements – costume, lights, setting.
• Evaluating construction methods, their application,
advantages and disadvantages
• Exploring decorative techniques, including:
-- Painted finish – using gesso, emulsion, acrylic, oil
based, gouache, gloss
-- Varnish – mixing colours and types of finish.
Be able to construct masks from designs
• Making mask, construction, fittings
• Experimenting with a range of collage effects and creative
ideas
• Evaluate finished mask(s) at various stages of the
construction and fitting process
Know how to use materials, construction and
decorative techniques
• Final evaluation and recommendations.
• Exploring the mask as a theatrical device
-- The purpose and effect of the mask
-- The use of the mask by the actor
-- The mask working in conjunction with other creative
performance elements.
5
delivery guidance
The learner should experiment with a range of construction/
decorative methods from the simple to the more
sophisticated. The tutor may wish to use the experience
of Mask – Making Practitioners to deliver all or part of this
element of the unit.
Know how to collate research findings
This element of the unit should be delivered using a flexible
range of teaching methods as applicable to the size and
‘makeup’ of the group. For example, it may be necessary
to divide the research into ‘bite size’ pieces, with learners
‘touching base’ with the tutor/group and presenting
their findings on a very regular basis or even undertaking
research under constant supervision. However it may be
applicable for other groups to be encouraged to undertake
their own research project presenting their findings only on
completion of the project.
It is essential that the learner is fully instructed in the health
and safety issues associated with the various methods of
construction and decoration
The learner should be encouraged to discuss and evaluate
the advantages and disadvantages of the various methods
of construction and decoration for mask – making for
performance
Know how to use materials, construction and
decorative techniques
The tutor may wish to divide the research into focused
‘projects’, e.g. one group/learner could look at ‘burial/death
masks’, whilst another could look at masks used within
‘warfare’.
The learner should be encouraged to reflect, evaluate and
capitalise on their learning and experience gained from L01
and L02 to move them towards their project of making a
mask/s which is fit for performance purposes.
It may be necessary with a small group for the tutor to
supplement and fill in any gaps within the required overview
using handouts and pictorial evidence.
The tutor should introduce the concept of designing for
a specific production or character(s) The learner should
be enabled to analyse the text/character appropriately to
enable them to fully understand the purpose and demands
of the mask within a production.
Nevertheless following an initial introduction to the
course and before any research can be undertaken, it is
essential that the learner is conversant and confident about
undertaking the research, using methods as applicable
and producing, correlating and presenting their findings as
required.
The learner should be enabled to design for a specific ‘in
house’ production text/improvised or for a specific given
character, e.g. ‘Bottom – donkey’s head from a Midsummer
Night’s Dream’ or to a given remit.
The tutor should ensure that the learners have access to a
diverse range of research and mediums.
The role of the mask in conjunction with other creative
production elements should be fully explored. Common
problems should be outlined and discussed before the
learner is encouraged to complete their final mask(s)
design(s).
Presentations, discussions, evaluations and tutor – led
clarification and instruction should allow all learners to
benefit from the range of research available and undertaken.
Be able to generate design ideas
The learner should be encouraged to further reflect and
evaluate on the research for inspiration and ideas for their
own mask designs. They should consider the methods of
construction that have been used and the decoration of
such masks.
The tutor should discuss and evaluate the final design(s) and
facilitate the learner in completing the design.
Be able to construct masks from designs
The tutor should ensure that the learner has the necessary
materials, facilities and time to complete the making
of the mask. They should guide and assist the learner
during the process as appropriate to the learner’s needs
and requirements. The tutor should ensure that the
learner has regular fittings with the ‘actor’ and that the
ongoing construction and effect of the mask is regularly
evaluated and discussed in terms of its potential within the
performance. Where possible, the learner should have the
The learner should be introduced to a range of different
types of masks for performance and the advantages and
disadvantages should be considered and discussed.
Learners should be encouraged to continue experimenting
with their own design ideas and they should understand
how to record and present their designs on paper or 3D
format if applicable.
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Mask – making in the Performing Arts Level 3 Unit 51
facilities to look at the mask under performance conditions
with appropriate stage lighting and with the other applicable
production elements in situ. The learner should be enabled to
evaluate the finished mask(s) and put it into context within the
experience of mask – making for performance.
7
Suggested assessment scenarios and guidance on assessment
Assessment and Grading Criteria P1, M1
The learner should complete a research project into the historical and cultural use of masks. If the learner is taking a
comprehensive approach to the role of masks, it is expected that for P1 they will offer an organised and correlated overview
of the use of masks with some specific evaluation of their design and function. Those learners who have a more specific
remit to research will be expected to produce a more focused view of a particular type or use of mask. For P1 the learner
should compile and organise their research findings within a portfolio. To gain M1 the learner should extend their research
to demonstrate an understanding and qualitative evaluation of the use of mask by a contemporary theatre company. This
research should form part of the evidence within their portfolio.
Assessment and Grading Criteria P2, P3, M2, D1
The moderator should be able to understand the quality of the ‘journey’ that the learner has taken through the process of
mask – making. P2 should be evidenced through a range of drawn/painted and labelled design ideas or 3D equivalents, all
of which should be included within the learner’s portfolio or available for the moderator to view. For P2 the learner should
provide evidence of their experimentation of construction methods. Evidence should be made available for the moderator
and could be in the form of photographs, filmed evidence formatted appropriately on a DVD, hard evidence in the form of part
or whole masks. For M2 the learner should provide comprehensive evidence of their evaluation of the various construction
methods; this could be written as part of their portfolio of as part of the DVD material. To be awarded D1 the learner should
provide comprehensive evidence and a thorough evaluation of a range of decorative techniques and ideas which they have
explored. Evidence could be provided by photographs, supported by written evaluation or filmed evidence or there could be
physical evidence with written evaluation to support their experimentation.
Assessment and Grading Criteria P4, M3
For P4 the learner should provide a final mask design(s) which is fit for purpose and could enable another student to
implement the design if necessary. To gain M3 the learner should provide a detailed written or recorded evaluation/
justification for their design(s) this should reference their understanding of designing a mask for performance covered in L03.
Assessment and Grading Criteria P5, M4
To gain P5 the learner must complete a mask/s which is fit for purpose. A detailed written or recorded thorough evaluation
of the mask, reflecting upon its use and effect within the performance space will provide evidence for M4. The learner should
reflect on their learning and construction experiences within the unit and insightfully evaluate the types of mask best suited to
performance.
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Mask – making in the Performing Arts Level 3 Unit 51
resources
A large space which is equipped to allow the learner to experiment with a range of construction methods as outlined within
the unit.
A range of construction/ decorative materials as outlined in the unit.
Performance space with stage lighting which allows the learner to reflect on their design – mask.
A range of set/ props and costumes/materials to enhance the use and effect of mask within a performance space as applicable.
Masks: Face of Culture J. Nunley/C, McCarty/J.Emigh/L.K. Ferris
Harry N.Abrams
978-0810943797
The Secrets of Noh Masks
Michishige Udaka & Shuichi Yarnagata
Kodansha USA 978-4770030955
African Masks: From the Barbier-Mueller Collection I. Hahner-Herzog/M. Kecskesi/L. Vaida
Prestel 978-3791338071
Masks: The Art of Expression
John Mack
British Museum Press
978-0714125305
Masks in Modern Theatre
Susan Valeria Harris Smith
Univ of California Press
978-0520050952
The Prop Builder’s Mask Making Handbook
Thurston James
Betterway Books
978-1558701663
The Background, Making and Use of masks
Jennifer Foreman
Lutterworth Press
978-0718829483
Mask MakingGlynn McKayBook Sales978-0785801764
Masks and MaskingGary EdsonMc Farland978-0786445783
The Mask HandbookToby Wilsher Routledge978-0415414371
Mask MakingCarole SivinDavis Publications Inc.
0-871921782
www.commedia.klingvall.com/commedia-dell
www.ravenwoodmasks.com/mask-making
www.ehow.com/video_2375854_make-dramatic-theatre-mask
www.the-noh.com/en/worldmask
www.trestle.org.uk/mask-shop
www.incredibleart.org/files/masks
www.ehow.co.uk/how_8670344_make-carnevale-mask
www.strangeface.co.uk
www.vamostheatre.co.uk
www.masque-theatre.com
www.propbuilderhowto.co.uk/makebasicmasks
www.fffff.at/how-to-vacuum-form/
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Mask – making in the Performing Arts Level 3 Unit 51
Links to NOS
Suite
Ref
National Occupational Standard
CCSTP
34
Interpret designs for sets or props
CCSSM
3
Make finish and adapt props
CCSCA
8
Obtain and use research information
10
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