Masca în exerciţiile de compunere scenică a personajului, cu aplicare în teatrul shakespearian
Mask in exercises composing the scene of the character, with application in Shakespearean theater

Summary/Abstract: The inner feeling and the outer manifestations of the actor have to be in a permanent connection. Even if the character is far from the psychophysical data of the actor, even if sometimes there may be a director-actor conflict of vision, the last should have the necessary means to act on stage absolutely humanly. It starts with exercises and research on actors of Michael Cehov, Augusto Boal, Ion Sava, Jerzy Grotowsky, Viola Spolin or Mihai Maniutiu, exercises that developed, can help the actor in creating his character. The actor acts and reacts according to some automation, which is why one has to start with its de-automation, to be able to assume the character’s automations. A neutral mask applied imposes a certain way of movement, speech, attention. The mask – real, imagined or forgotten – changes the nature of the performer, opening an unexpected exploration field, more precisely highlights it, making the actor play practical with specific means of expression. Absolutely necessary to students, the exercises may be used even after graduating college, the future actor being able to use them in case of an acting dilemma.

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