Behind the mask, Appel notes, the student is free to create a personality; paradoxically, because the mask hides the self, it enables the student to probe more deeply into himself.
“This book describes, defines, and discusses the mask characterization process, providing the theory behind the exercises and the step-by-step procedure in the organic development of the character from the masks,” Appel notes. The manual is divided into two parts: “The Instructor’s Guide” and “The Actor’s Guide.” There is also an introductory chapter, “The Class Structure,” which explains mask characterization procedures in the classroom, and a sample class schedule may be found in the back of the manual.
This book adds a new dimension to actor training and learning. It is essential to aspiring actors seeking new ways to create honest dramatic characterizations.
Because mask improvisation work is relatively new in American theater training, this book is designed not only to acquaint readers with the theory of mask improvisation but to instruct them in the techniques of method as well.
Featuring dozens of improvisational exercises in the innovative spirit of Viola Spolin, and supplemented with practical appendices on mask design and construction, forms and checklists, and other classroom materials, this book is an invaluable tool for teacher and student alike, as well as compelling reading for anyone interested in acquiring a deeper understanding of masks as agents of transformation, creativity, and performance.
Born Eileen Mary Challans in London in 1905, Mary Renault wrote six successful contemporary novels before turning to the historical fiction about ancient Greece for which she is best known. While Renault's novels are still highly regarded, her life and work have never been completely examined. Caroline Zilboorg seeks to remedy this in The Masks of Mary Renault by exploring Renault's identity as a gifted writer and a sexual woman in a society in which neither of these identities was clear or easy.
Although Renault's life was anything but ordinary, this fact has often been obscured by her writing. The daughter of a doctor, she grew up comfortably and attended a boarding school in Bristol. She received a degree in English from St. Hugh's College in Oxford in 1928, but she chose not to pursue an academic career. Instead, she decided to attend the Radcliffe Infirmary in Oxford, where she trained to be a nurse. With the outbreak of the Second World War, she was assigned to the Winford Emergency Hospital in Bristol and briefly worked with Dunkirk evacuees. She went on to work in the Radcliffe Infirmary's brain surgery ward and was there until 1945.
It was during her nurse's training that Renault met Julie Mullard, who became her lifelong companion. This important lesbian relationship both resolved and posed many problems for Renault, not the least of which was how she was to write about issues at once intensely personal and socially challenging. In 1939, Renault published her first novel under a pseudonym in order to mask her identity. It was a time when she was struggling not only with her vocation (nursing and writing), but also with her sexual identity in the social and moral context of English life during the war.
In 1948, Renault left England with Mullard for South Africa and never returned. It was in South Africa that she made the shift from her early contemporary novels of manners to the mature historical novels of Hellenic life. The classical settings allowed Renault to mask material too explosive to deal with directly while simultaneously giving her an "academic" freedom to write about subjects vital to her—among them war, peace, career, women's roles, female and male homosexuality, and bisexuality.
Renault's reception complicates an understanding of her achievement, for she has a special status within the academic community, where she is both widely read and little written about. Her interest in sexuality and specifically in homosexuality and bisexuality, in fluid gender roles and identities, warrants a rereading and reevaluation of her work. Eloquently written and extensively researched, The Masks of Mary Renault will be of special value to anyone interested in women's studies or English literature.
Tapping Out: Poems
Nandi Comer Northwestern University Press, 2020 Library of Congress PS3603.O4764T37 2020 | Dewey Decimal 811.6
The relentless motions and blinding colors of lucha libre, the high-flying wrestling sport, are the arresting backdrop to Nandi Comer’s collection Tapping Out. Mexican freestyle wrestling becomes the poet’s lyrical motif, uncovering what is behind the intricate masks we wear in society and our search for place within our personal histories. Comer’s poetic narratives include explorations of violence, trauma, and identity. The exquisite complications of the black experience in settled and unsettled spaces propel her linear explorations, which challenge the idea of metaphor and cadence.
The harsh realities of being migrant and immigrant, being birthright and oppressed, are as hard-pressed as the plancha move to the body. Each poem in Tapping Out is a “freestyle movement” of language and complexity put on full display, under the bright lights and roars of survival. Comer’s splendid and barbed, Detroit style of language melts the masks with searing words.
Decision makers matching wits with an adversary want intelligence—good, relevant information to help them win. Intelligence can gain these advantages through directed research and analysis, agile collection, and the timely use of guile and theft. Counterintelligence is the art and practice of defeating these endeavors. Its purpose is the same as that of positive intelligence—to gain advantage—but it does so by exploiting, disrupting, denying, or manipulating the intelligence activities of others. The tools of counterintelligence include security systems, deception, and disguise: vaults, mirrors, and masks.
In one indispensable volume, top practitioners and scholars in the field explain the importance of counterintelligence today and explore the causes of—and practical solutions for—U.S. counterintelligence weaknesses. These experts stress the importance of developing a sound strategic vision in order to improve U.S. counterintelligence and emphasize the challenges posed by technological change, confused purposes, political culture, and bureaucratic rigidity. Vaults, Mirrors, and Masks skillfully reveals that robust counterintelligence is vital to ensuring America's security.
Published in cooperation with the Center for Peace and Security Studies and the George T. Kalaris Memorial Fund, Edmund A. Walsh School of Foreign Service, Georgetown University.