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| Preface | |
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| Introduction | |
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| Masking Questions and Answers | |
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| From mask to Hu-Mask | |
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| Actor Approach | |
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| Four Families of Masks | |
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| Using the Book | |
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| Validation | |
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| Journaling | |
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| Building Masks | |
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| Handling Masks | |
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| In Sum | |
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| Full-Face Masks | |
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| Overview | |
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| Terminology | |
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| All-Powerful Masks | |
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| Transformation | |
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| Dream State | |
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| What, Are You Crazy? | |
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| Once Again, with Feeling | |
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| Pre-Mask Foundation Exercises | |
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| Warm-Up | |
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| Triggering Exercises | |
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| Touch Trigger--Physicalization | |
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| Sound Trigger--Vocalization | |
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| Merging Triggers--Comprehensive Character | |
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| Modifying Results | |
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| Maximizing | |
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| Minimizing | |
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| Setting Up for Full-Face Masking | |
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| Building the Masks | |
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| Studio Set-Up | |
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| Mirrors | |
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| Clothes | |
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| Hair | |
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| Wigs | |
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| Cloaks | |
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| The Standing Line | |
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| Three Tables | |
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| Watchers | |
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| Core Exercises: Acting in Full-Face Masks | |
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| First Impressions | |
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| Strong Emotion Ahead | |
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| Dropping into Mask | |
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| Let's Get Physical | |
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| Stance | |
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| Walk | |
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| Gesture | |
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| Essence | |
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| Statues | |
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| Speaking Up | |
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| Finding Sounds | |
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| Wigging Out | |
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| Wigs | |
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| Cloaked in Mystery | |
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| Cloaks | |
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| Child's Play | |
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| Simple Doing | |
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| Core Exercises: In and Out of Full-Face Masks | |
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| In and Out of Mask | |
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| Putting Baby to Sleep | |
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| Core Exercises: Reviewing and Modifying | |
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| Maximizing Hu-Mask Discoveries | |
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| Minimizing Hu-Mask Discoveries | |
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| Advanced Exercises: Group Masking | |
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| Singing Together | |
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| Dancing Together | |
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| Going Outside | |
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| Play Ball! | |
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| Faraway Village Adventure | |
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| Marketplace | |
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| Wilderness Adventure | |
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| Applied Full-Face Masking | |
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| The Greeks | |
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| Servant | |
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| Royalty | |
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| Review--Working In and Out of Mask | |
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| In Conclusion | |
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| Bag Masks | |
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| Overview | |
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| Terminology | |
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| Shifty Business | |
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| Pre-Bagging | |
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| Making Bag Masks | |
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| Studio Set-Up | |
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| Neutral Walk | |
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| Neutral Walk | |
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| Core Exercises: One-Character Bagging | |
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| Mask Performances--It's in the Bag | |
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| A Friend | |
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| Improving: Deeper and Cleaner | |
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| Once More, with Clarity | |
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| Surprise, Surprise | |
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| Surprise I | |
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| Surprise II | |
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| Core Exercises: Two-Character Bagging | |
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| Vocal Shifts | |
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| Simple Conversation | |
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| Talk This Way, No Talk This Way | |
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| Vocal Variance | |
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| Core Exercises: Three-Character Bagging | |
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| Physical Shifts | |
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| Three's Not a Crowd | |
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| Walk This Way, No Walk This Way | |
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| Street Scene | |
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| Walking and Talking, Take Three | |
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| Simple Activities | |
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| Street Scene with Activities | |
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| Maximizing and Minimizing | |
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| More or Less | |
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| In and Out of Bag Masks | |
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| Bags Away | |
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| Bags Away II | |
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| Advanced Bagging: Four Characters and Beyond | |
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| Complex Shifts | |
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| Shift, Shift, Shift, and Shift | |
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| Talk Show | |
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| New Place, New Characters | |
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| Fight Night! | |
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| Speed, Speed, Everything's Speed | |
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| Ages of Life | |
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| Along Came Spot | |
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| Mob Scenes | |
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| Applied Bagging | |
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| Jokes | |
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| Joking Around | |
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| Complex Scripts | |
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| Launcelot Gobbo | |
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| In Conclusion | |
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| Clowning | |
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| Overview | |
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| Terminology | |
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| Essence | |
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| Studio Set-Up | |
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| Audience | |
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| Laughter | |
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| The Nose Knows | |
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| Costumes and Props | |
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| Core Exercises: Basic Clowning | |
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| Rules | |
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| Let's Face It | |
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| Face Play | |
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| Connection | |
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| Three-Face Connection | |
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| Activity Connection | |
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| Yes-Mode | |
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| Spotlight: Charlie Chaplin | |
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| Yes, It's Dumb. Isn't that Great? | |
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| Interview Contradictions--Yes-Mode Test | |
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| Essence | |
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| Essence in One Word | |
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| Deepening Clown Essence | |
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| Essence Dance | |
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| Dance performance | |
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| Essentially Still | |
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| Spotlight: Buster Keaton | |
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| Minimized Dancing | |
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| Stop Dancing | |
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| Solo Statues | |
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| Risk | |
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| First Audition | |
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| Raising the Sakes | |
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| Spotlight: Lucille Ball | |
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| Second Audition | |
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| Vulnerability | |
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| Love You, Hate You | |
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| Instant Routines | |
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| Repetition and Modification | |
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| Advanced Clowning: New Directions | |
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| Alternate Essences | |
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| Spotlight: Harpo Marx | |
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| External Shifts | |
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| Activity Shifts | |
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| Dance Shifts | |
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| Applied Clowning | |
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| Sharing the Stage: Duos | |
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| Spotlight: Laurel and Hardy | |
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| Launching a Duo | |
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| Dance Duos | |
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| Improvised Duos | |
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| Synchronicity | |
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| In Conclusion | |
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| Half-Face Masks | |
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| Overview | |
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| Terminology | |
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| Commedia Connection | |
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| Copy Cat, Dirty Rat | |
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| Top or Bottom? | |
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| Pre-mask Foundation Exercises | |
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| Modern Stock | |
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| Swapping Faces | |
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| Face and Body | |
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| Walk the Walk | |
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| Talk the Talk | |
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| Back to the Mirror | |
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| Setting Up for Half-Face Masking | |
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| Clothing | |
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| Wigs | |
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| Costumes | |
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| Props | |
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| Studio Set-Up | |
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| Building Half-Face Masks | |
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| Core Exercises: Acting in Half-Face Masks | |
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| Rules of the Road | |
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| Five Quick Stances | |
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| Walk This Way | |
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| Fluid Statues and Gestures | |
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| Finding Voice | |
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| Wigs and Hats | |
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| All Dressed Up | |
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| Propping Up | |
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| Reviewing Hu-Masks | |
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| In and Out of Half-Face Masks | |
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| Core Exercises: Dynamic Duos | |
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| Sharing Activities | |
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| Song Birds | |
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| Talk, Talk, Talk | |
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| Conflict | |
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| Advanced Exercises: The Great Outdoors | |
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| Fresh Air at Last | |
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| Goodbye Studio | |
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| Building a Crowd | |
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| Busking | |
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| Lazzi | |
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| Applied Half-Face Masking | |
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| Creating an Original Commedia | |
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| Taking Stock | |
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| Solo Entertainments--Special Skills | |
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| Choosing Scenes | |
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| New Hu-Masks--Adding Spontaneity | |
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| Scripted Monologues | |
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| Scenes for Three | |
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| Putting It All Together | |
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| Theme Song | |
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| Practicing in the Studio | |
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| Back on the Streets Again | |
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| Adding Lazzi | |
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| In Conclusion | |
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| Appendix | |
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| Journaling: Hu-Mask Characters--Blank Journal | |
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| Building Full-Face Masks | |
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| Building Half-Face Masks | |
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| Building Bag Masks | |
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| Recommended Reading | |