The mask is one of the most significant tools in modern theatre. The Centre has a professionally equipped workshop for all aspects of mask-making, design and construction.

Commedia dell'Arte masks in leather are made around wooden moulds following the classic Sartori method developed in Padua.Noh Mask carving is possible courtesy of the guidance and donation of tools and materials by Nohzin Suzuki from the Nohzin-kai school in Kobe, Japan.

Further invitations are in the pipeline to invite key mask-makers from Mexico, Bogota, Kerala, and Bali.

Masks are also commissioned for use in contemporary theatre production and actor -training.

Grant Mason, our resident film and television wizard, also makes monsters, make-up effects, and masks in foam latex, fibre-glass, silicon, neoprene, and related materials.

The Centre promotes the use of the mask as a central tool in actor-training. Research into the great traditions (Greece & Rome, Medieva, European Folk and Carnival, Japanese Noh, Balinese Topeng, Korean Mask Dances), tribal performance, and contestation and political action.

The Chairman of the Centre, Dr. Edward Argent (former Director of Drama at The Royal Scottish Academy) took part in the mask classes at the Royal Court Theatre Studio in the 1960's with Keith Johnstone. He runs courses in mask improvisation and character mask.

Malcolm Knight is currently writing-up a PhD in Masks and Meaning in Modern Drama for the University of Glasgow. He has made an extensive study of mask performance, mask-making, and mask traditions over a twenty-five year period. He has trained with Stefano Perroco and Nohzin Suzuki; and teaches neutral, commedia, and Noh masks.