The mask in the work of Iva & Petar

In the work of Iva & Petar the mask has always occupied important place. Their research is focused on various aspects of dramatic use of the mask. Each play reveals new possibilities of expression through the mask:

In the play ” Neko je ubio pjesmu ” the mask is revealed as a symbol that evolves through action. “Mme Leopoldine’s Memoires” shows that the mask also posseses its “inner” life. In “Overture for a Requiem” the mask becomes elaborate dramatic character. And in the visual comedy “Le Triomphe de la Fidelite” the mask is the basic medium of creating grotesque.
Perfecting the concept involving super-realistic mask started with the production of Miracles Now, and came to its climax with a format called Project Kloon.

Super-realistic mask in contemporary theatrical performance

The use of Mask (especially super-realistic mask, a living replica of the real person) can gain a new function in theatre today. While historically the mask represented the mode of transformation from mundane to the divine, a symbol that “turns invisible into visible” today in our (self) image-obsessed culture – a super-realistic mask can become the bearer of modern meanings, a metaphor of modern time.

Human cloning has always absorbed the human imagination. Conspiracy theories of the clones of presidents and celebrities live in the human mind, especially when DNA experiments, face-transplants, artificial intelligence, etc. are no longer science fiction.

So far, Iva & Petar have realized the Kloon project only in the context of corporate events, as a spectacular/illusionistic introduction of a CEO or a chairman. However, the authors are looking into new opportunities to use the surrealistic mask not only as a means of creating illusions for entertainment purpose, but also as a reflection of modern times.

From their own studio

In the work of Iva & Petar the mask has appeared in hundreds of faces. All masks in their productions are created by Iva & Petar themselves. During their career, they have designed hundreds of masks in a variety of shapes and materials: from enlarged, grotesque masks with fixed expression to super-realistic flexible (full body) masks – with actors being completely transformed into ‘more-real-than-real-life’ characters. Over the past decades, they have mastered and further developed a variety of sophisticated techniques, ranging from traditional sculpting to cutting-edge special effects techniques from the film industry, and have worked with the widest range of modelling, molding and casting materials, including plastics, foams, silicones and urethanes.

However if one can speak about the ‘skill & mastery’ in mask-making, than the Clone Mask comes the closest. During a highly elaborate proces the clone mask is fitted on another person. The Clone Project is the first format that authors have introduced under Mask Illusions but more is still to be expected.

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