MASK MAKING AND ITS USES IN CHILDREN’S THEATRE: A CASE STUDY OF UNIVERSITY OF PORT HARCOURT CHILDREN.

MASK MAKING AND ITS USES IN CHILDREN’S THEATRE: A CASE STUDY OF THE UNIVERSITY OF PORT HARCOURT CHILDREN.

CHAPTER 1

INTRODUCTION

• BACKGROUND OF THE STUDY

The mask is viewed as a mediator between the 2 realities of everyday, nonfictional life and imaginative, dramatic life. (PsycINFO Database Record (c) 2012.  masks are consistently used in Drama Education, though it is usually through the specific knowledge of Drama and Theatre practice that they are contextualized. Drawing upon cultural understandings of the past and present, anthropology offers a context for masks and drama demonstrating that the purpose of masks in society supports the wider educational benefits, beyond the academic, for child development in formal education. There are few if any societies in the world that do not find references or images of masks and their application in their historical record to the current era (Edson, 2005). There is no definitive time of when masks can be seen to be first introduced,  as they are ever present in visual records,  but their purpose is and has always been to transport and transform the user and the observer (Foreman, 2000). Thus, masks have an audience, whether in entertainment or ritual.  The difference between these two can cross boundaries (Schechner and Appel, 1990). Ritual, similar to entertainment performance is fascinating, or the individuals who partake as they are actively engaged and yet able to glorify and observe the spectacle around them  (Campbell,  1969).  Through a critical analysis of key writings, his paper presents some

key cultural contexts of masks in society in a non-theatrical context and questions the implications for drama and wider education. Donald  Pollock recognizes this wider purpose in the meaning of masks as an aspect of semiotic identity in society.  ‘Identity is displayed, revealed or hidden in any culture through conventional means, and that masks work by taking up these conventional means, ironically or indexically’ (Pollock, 1995 p.582). This is supported by the work of other anthropologists in that masks have several functions such as representational, emotive indexical and disguise (Lévi-Strauss, 1982; Urban and Hendriks, 1983).  All these are observed in the multitude of the modern usage of masks outside of the Drama and Theatre perspective, in modern religious festivals and events, children’s play, religious attire, and indeed in practical mask usages such as for health and medicine (Schechner, 1985).  In all these forms, their functions have a visual linguistic association that has the potential to impact how masks in the classroom are engaged and needs to be explored if we are to understand not only the function of masks but also how the mask changes the user and audience.

 

 

• STATEMENT OF THE PROBLEM

While mask making has gained popularity in children’s theatre, there is a need for in-depth research to understand its impact on the overall theatrical experience for young audiences. Furthermore, there is limited research available on the specific context of mask making in Nigerian children’s theatre, particularly at the University of Port Harcourt Children’s Theatre. This study aims to fill this gap by investigating the process of mask making and exploring its uses and effects in performances targeted at children. Whilst we know that masks are used within the class-room, for the teaching of Drama, what is not known is the what, if any impact there is. Using observation and coding of classes observed, followed by inter-view responses from students, the key results of what impacts masks have 0n the engagement and social development and identity of adolescents in schools is explored in the study. The problem confronting the study is to appraise mask making and its uses in children theatre. A case study of university of port Harcourt children

 

• OBJECTIVE OF THE STUDY

The main objective of the study is to appraise mask making and its uses in children’s theatre. A case study of the University of Port Harcourt children.

 

• SIGNIFICANCE OF THE STUDY

This research project is significant in several ways. First, it contributes to the existing body of knowledge on children’s theatre by exploring the role and impact of mask-making. It sheds light on the historical and cultural significance of masks and provides insights into their use in contemporary theatrical practices for children. Additionally, the case study of the University of Port Harcourt Children’s Theatre offers a localized perspective, giving Nigerian practitioners and researchers a better understanding of mask making in the context of Nigerian children’s theatre. The study shall be of immense benefit to academicians in determining the impact of the use of masks in theatre on the academic, emotional and self-awareness development of students. It shall further assist the students to acquire basic information on the importance of the use of masks in theatre.

• SCOPE OF THE STUDY

The study focuses on appraising mask making and its uses in children’s theatre. A case study of University of Port Harcourt children.

This research project will focus on mask making in the context of children’s theatre, with a specific emphasis on the University of Port Harcourt Children’s Theatre as a case study. The study will primarily utilize qualitative research methods, such as interviews, observations, and document analysis. However, it is important to note that due to time and resource constraints, the study’s findings may not be generalizable to all children’s theatre contexts or mask-making practices.

• LIMITATIONS OF THE STUDY

  The study was confronted with logistics and geographical constraints.

• DEFINITION OF TERMS

MASK DEFINED

As an object, the mask takes on human projections in play, ritual, magic, and theatre. As a projection of the self, it can assume an infinite variety of forms–human, divine, animal, inanimate object.

 

MASK MAKING AND ITS USES IN CHILDREN’S THEATRE: A CASE STUDY OF THE UNIVERSITY OF PORT HARCOURT CHILDREN. GET MORE THEATRE ARTS PROJECT TOPICS AND MATERIALS

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