The performance-trainer (who himself trained under Keith Johnstone) and mask maker explains that a well-made mask has a life of its own, shaping a performer’s energy and prompting the performer what to do. With skill and technique, the performer then gives shape and clarity to this energy. Because of this relationship, mask making in a facilitated workshop allows for discovery and experimentation that cannot be found in an art class. Mask-making is not merely about the technical aspects, more so for the practicing actor. Simone previously spoke on Front Row in 2015, you can listen to the full interview here.

<p>The performance-trainer (who himself trained under Keith Johnstone) and mask maker explains that a well-made mask has a life of its own, shaping a performer&rsquo;s energy and prompting the performer what to do. With skill and technique, the performer then gives shape and clarity to this energy. Because of this relationship, mask making in a facilitated workshop allows for discovery and experimentation that cannot be found in an art class. Mask-making is not merely about the technical aspects, more so for the practicing actor. Simone previously spoke on Front Row in 2015, you can listen to the full interview&nbsp;<a href="http://www.bfm.my/simone-tani-trance-from-masks.html">here</a>.</p>

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