AUTHOR AND LEADING RESEARCH: Sjoerd Schwibettus
LAY OUT: Serena Kloet for her work on the graphic design,
DRAWINGS: Emmy Chau, EDITING: Emmy Chau,
TRANSLATION in ENGLISH: Charlottte Bakker, Thomas Viele
THANKS TO: dr. Harry von Piekartz for his cooperation and joint research on emotion in face and body expressions,
THANKS TO: all participating collegues, students of the ArtEZ theater faculty Arnhem, students of Osnabruck, University of Applied Sciences, Physiotherapy department, Mime Oost school
The first book MASKS MOVED originates from the publication 'Maskers Bewogen', a publication in
Dutch of a research into emotion expressions and masks for physical theater.
The writings from the first research are revised and renewed, and translated into English. All the extended data from testing have been summarized.
The second book ARCHETYPES, gestures, masks, spine is a further research on whole body
expressions. It changes the perspective from the face to the whole-body and postural expressions
and explains the spine as the keyboards of the body. First and Second book must be seen as
The expressions of face and body are both closely related and they cross pollunate here. The research involves both science (anatomy, biology, physiology, psychology, neurology, ) and the arts. My goal here is to connect and to give a full wide view on the subject. The subject is a quest and research into the expressions of emotions, the second book is in the light of the posture or expression of the whole body. Troughout the research the physical act or gestus is the carrier of the expression in its action, form, or stature. La statuaire mobilee (corporeal mime Decroux) is a key concept and explains how we can define and understand the expression and its archetypical connotation.
The term "archetype" has its origins in ancient Greek. The root words are archein, which means "original or old"; and typos, which means "pattern, model or type". The combined meaning is an "original pattern" of which all other similar persons, objects, or concepts are derived, copied, modeled, or emulated.
The psychologist, Carl Gustav Jung, used the concept of archetype in his theory of the human psyche. He believed that universal, mythic characters—archetypes—reside within the collective unconscious of people the world over. Archetypes represent fundamental human motifs of our experience as we evolved; consequentially, they evoke deep emotions.
In Commedia dell’arte and maskmaking the archetypal is composed of at least 9 times individual
similar semantics, tokens or gestures. Most, if not all, people have several archetypes at play in their personality construct; however, one archetype tends to dominate the personality in general. The characters in masks, commedia dell’arte characters, and the sculptures of man in motion work the same: the archetypal of the expression is derived from similarities between at least 9 individual properties from the same group.
INTRODUCTION AND STRUCTURE OF THE RESEARCH STORY
The chapters and the narrative of both books are organised along the dramaturgical structure of the
aristotelian theater. For the full explanation of Aristotelian structure see Mask Moved
Put back in the tradition of our oldest theater in the West, we end up with the Greek tragedy. Aristotle (388-322 BC) exposed the structure of the Greek drama in his Poetica: tragedy and comedy were said to trigger a catharsis through the incidents that evoke emotion. This framework is still an important issue in present-day narratives and drama.
The concluding chapters in this book lead back to the origin of the physical theater and the mask: the Greek Tragedy and Comedy, Ancient Roman Atelian Comedy, the Commedia dell'arte, and the founders and innovators of the new theater in the previous 2 centuries to the present
CONTENT IN CHAPTERS
16. NEW RESEARCH –ARCHETYPES MASKS GESTURES SPINE
ON FACIAL AND POSTURAL EXPRESSIONS, from expression in the face to expression of the body RESEARCH METHODS
21 EXPRESSIONS OF EMOTION - Recapitulating Masks Moved research
THE SMILE IS THE MOST UNIVERSAL EXPRESSION
IN THE WAITING ROOM, PERSPECTIVES FROM PHYSICAL THEATER
BODY ACTION CODING SYSTEM
6 BASIC EXPRESSIONS OF EMOTION IN POSTURE
WHY BOTHER ABOUT BODIES?
18. MIME -
THE 4 DIMENSIONS and AXES
ROTATING AND INCLINING AND THE ARTICULATIONS
EYES, ARMS, HANDS
PHYLOSOPHY- APPROACH FROM CORPOREAL MIME L'ESPRIT DE FINESSE - L'ESPRIT DE GEOMETRIE
LA STATUARY MOBILE
L'HOMME DU SONGE - L'HOMME DE SALON - L'HOMME DE SPORT
INWARDS GOES OUTWARDS
YOU CAN LET YOUR ARM WEEP: the expression of the dramatic is in the how
MY OBSERVATIONS FROM THE WINDOW
CORPOREAL MIME - SCULPTURE OF MAN IN MOTION - ANALYSIS TECHNIQUE AND PHYLOSOFY
POSITiONS and ZERO
GRAVITY and COUNTERFORCE
REGRESSER POUR AVANCER
19. EPILOGUE 1: back into theater history: Commedia dell 'Arte - '3planks,2 actors, 1emotion'
20. EPILOGUE 2: back into history of 19e and 20e century theater reformers. The gestus - the
physIcal act is main focus.
21. BACK INTO HISTORY: the tradition on masks and mask play leads back to the beginning.
CHANGE LEVEL AND PLANE