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mask theatre workshops
Freya Stang is a mask maker, performer, and director who leads others into the world of mask theatre through workshops and stage productions. In 2021, she was a finalist at London’s International OFFIE Awards as both director and actor in her solo mask performance The Escape of Iris Dupont.
In Freya’s workshops, participants improvise using movement, breath, and voice to inhabit characters, explore their needs and passions, and rediscover the joy of theatrical play.
Next mask workshops:
The Larval Mask, 15 November 2026
The Half-Mask Commedia, 22 November 2026
in Sauve, 30610 Gard, France
Check out the Events Calender for more details
-Alternatively, invite Freya to organise a workshop where she is, or bring a workshop or retreat to you.
Theatre masks open the door to transformation, each one revealing a different dimension of expression and awareness.
The Neutral Mask, often used in actor movement training, invites a state of calm presence and readiness — a place before character, where the performer becomes fully open to space, balance, and the rhythm of breath.
The Larval Mask, inspired by the traditions of Basel Carnival and explored in Larval Love, embodies innocence and curiosity; its oversized, unfinished forms allow actors to rediscover play, rhythm, and the birth of character.
The Full or Expressive Mask, such as in The Man (La Voix Humaine), channels deep emotional states and human complexity, allowing the mask itself to become the voice of feeling. In Pierre and the Moon, a Full Mask combined with puppetry extends this exploration, blending human and object movement into one living presence.
Finally, the Half Mask, rooted in the Commedia dell’Arte tradition, invites improvisation, voice, and comic rhythm — where the actor’s own features meet the mask’s and a shared expression comes alive. Together, these masks offer a complete journey through neutrality, discovery, expression, and play — the full language of the theatrical body.
Masks project the emotional body into space and bring focus to the voice — shaping both character and play. In movement theatre, masks are invaluable tools that allow actors to express a wide range of emotions through physicality. The movement of a theatre mask reflects archetypal gestures — the same rhythms that belong to the movement of the universe.
By feeling and recognising these universal motions, actors embody them through performance, capturing the essence of human gesture and emotional energy. What makes us move — forward, backward, or sideways? What moves us emotionally? Mask work seeks to answer these questions through embodied exploration.
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