The following performance called the Bali: Topeng mask performance: retrieved from http://www.youtube.com/watch?v=KzKs5H8fSA is a representation of fun and how the society may enjoy abstract concepts. Abstract in this case represents the totality of what is theoretically acceptable within the human society to be fair and reasonable for all the people. This is why there are children and adults alike gathered together to share in the joy and the performance of the actors who use masks to show different faces of the human life. In principle, one gets the feeling that the performance is funny because the actors are mature people who represent different faces of the human life in different attires. There are funny representations of the face of a person with a moustache who seems funny because of the connotations of the masks. Some of the masks seem funny in a way because there are scary, and anyone who might meet such a face in a private and dark space would by all means be in for a rude shock. In principle, the performance is a representation of what human agility and diversity are. There are scary faces; others are funny but all in all, the underlying message is that of fun for the whole society.
The kind of acting exhibited in this set of one of style and class because a viewer gets the feeling that the dancers enjoy themselves during these presentations. Each time there are two or more actors who share the performance podium; there is a seamless blend of synergy and compatibility. Their chemistry is commendable, and they do not seem to struggle in any way. It is easy to notice that the actors complement the strengths and the natural abilities of one another. For instance, whenever an actor is weak on the verbatim and the speech abilities, the other one is either by design or default string in that line of acting. Thus, if one actor or actress is not strong in oral abilities, the other one complements him or her in that aspect or area where he or she may lack in (MacGaffey 191). It is also worth to note and record that the actors display a quality and good mastery of their craft and talents by the fact that they deliver their presentations in an effortless and seamless manner.
As far as the costumes are concerned, there is an apparent display of colour and flashiness. The colors in the costumes represent the different times of the human life at different stages thereof. For instance, whenever there is happiness being shown by the actors, one would easily note and notice that the actors strive to display right colors in their costumes. A specific case and instance are the use of golden colors to show and represent happiness or joy. As much as the masks are not changing, one gets to record that the fiery or the mask that is scary seems to represent the sad or the dull moments of the play. It is also easy to note and point out that the actor wears a mask that seems to depict lack or little joy, in the play and the human society by extension.
The lighting aspect and phenomenon has also been used and expounded as a source of communication in this play or presentation. Whenever the actors wish to introduce a new concept in the play such as a change of tune, fun, themes, dance, attitude or any change of whatever form, the lighting pattern is equally changed. This happens in a blended fashion that it becomes difficult to discern this, but it is apparent that this play uses light in different ways to exhibit and show the diversity. Diversity in this line of thought and argument refers to the aspect whereby the actors show and exhibit different signs of emotional and psychological angling. For instance, just before one actor bursts into some form of joyous dance, the lights seem to focus and concentrate on his face-or mask. Inversely, when a different thing or a theme such as of somberness is about to be introduced, one motive that there is a dim flash in the concentration of the light and its intensity.
It is important and worth to note and record that the scenes in this presentations are designed in a manner that is the moment specific. For instance, the scenic design that is elaborated during a moment of humor seems to differ slightly with a different one of a different theme. It happens in such a way that when it is a different line of emotion, the actors seem to move to a different place so as to exhibit and represent in that line of action and thought. A specific case and instance are when the actors wish to exhibit and represent joy and happiness; then they move closer to the people who are watching that performance. It could be because they might need to share the humor and the happiness with the physical audience in an up-close and personal manner. Inversely, whenever the actors and the play needs to represent reduction in the levels of joy or happiness, they seem to drift from the audience and coil in the middle of the field so as to represent this line of emotion and feeling.
This play is by all means a funny one because the costumes and the rendition that the actors give humorous in all fairness and aspects. It is worth to note and mention that the play is designed in a chronological manner such that at the beginning of the play, there are little punch lines in the name of humor. As the play and presentation proceeds, the humor is taken to a whole new level where the actors move closer to the audience in an apparent show of sharing the joy. Thus, I am of the opinion and belief that this is a humorous presentation that would leave anyone in stitches, because the actors are perfect at their rendition of the emotional diversities. At the tail end of the presentation, one gets the feeling that the play is coming to an end with the humorous display of the performance.
Summarily, communication as a concept refers to the art and aspect of passing and receiving information from one source to another-recipient or the audience in this presentation. It is worth to note, record and mention that communication does not imply conversation because one can pass and share information using several non-verbal messages (Caudle 120). Just as in the play discussed above, there are instances and parts where communication takes place through the use of costumes, the lighting techniques, the way the scenes are designed.
Works Cited
Caudle, Fairfield M. "National boundaries in magazine advertising: Perspectives on verbal and nonverbal communication." Global and multinational advertising (1994): 117-140.
MacGaffey, Wyatt. "Complexity, astonishment and power: the visual vocabulary of Kongo Minkisi." Journal of Southern African Studies 14.2 (1988): 188-203.
