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Also, we should say this programme does contain strong language. | :00:00. | :00:00. | |
Ladies and gentlemen, please welcome your host for tonight... | :00:00. | :00:27. | |
As a ventriloquist, I have encountered the power of masks. | :00:28. | :00:35. | |
Not only using my monkey puppet as a liberating mouthpiece | :00:36. | :00:39. | |
Look at her standing there, trying not to lose her mouth. | :00:40. | :00:43. | |
But also, in using masks on audience members and seeing how this frees | :00:44. | :00:50. | |
She's going to throw it into the crowd. | :00:51. | :00:57. | |
Hello, I'm Nina and this is my puppet, Monkey. | :00:58. | :01:03. | |
I am the conduit for Nina's true self. | :01:04. | :01:07. | |
Oscar Wilde once said, man is least himself | :01:08. | :01:11. | |
Give him a mask and he will tell you the truth. | :01:12. | :01:15. | |
Thank God you're not wearing me on your head, | :01:16. | :01:20. | |
I'm interested to see how disguising the self in order to set free | :01:21. | :01:25. | |
artistic expression is prevalent in other art forms. | :01:26. | :01:29. | |
What is it about masks that enable us to shed our psychological skins? | :01:30. | :01:35. | |
Looking at some of the bands who have used masks over | :01:36. | :01:53. | |
the decades, psychiatrists could have a field day. | :01:54. | :02:04. | |
It's so they can delight and surprise and challenge | :02:05. | :02:13. | |
I know this is Artsnight, Nina, but there is no need to sound | :02:14. | :02:21. | |
One musician who was never scared to take risks with his image | :02:22. | :02:39. | |
From early in his career, he used the concepts of physical | :02:40. | :02:49. | |
and metaphorical masks to create the characters | :02:50. | :02:53. | |
Ever since his 1972 album, Ziggy Stardust and the Spiders | :02:54. | :03:00. | |
from Mars, he adopted and adapted these, from Aladdin Sane | :03:01. | :03:05. | |
And as his music changed over the decades, so, | :03:06. | :03:11. | |
Artist Mark Wardel has immortalised some of these in a series of masks. | :03:12. | :03:23. | |
I borrowed a cast of David Bowie's face from a friend in | :03:24. | :03:26. | |
Just for my own use, really, but the V somehow saw them | :03:27. | :03:36. | |
and commissioned me to do an edition in conjunction with the David Bowie | :03:37. | :03:40. | |
exhibition and Bowie actually bought two of them for his collection. | :03:41. | :03:44. | |
This is inspired by a scene in The Man who Fell to Earth, | :03:45. | :03:53. | |
where Bowie is an alien and he goes into a lift and it cannot cope | :03:54. | :03:56. | |
with the pressure so his nose bleeds. | :03:57. | :04:00. | |
I like the graphic of the red just against plain white so I kind of use | :04:01. | :04:13. | |
this as a metaphor for stress, pressure. | :04:14. | :04:22. | |
And, obviously, there is a drugs connotation because it is quite | :04:23. | :04:31. | |
well-documented that he was taking a lot of cocaine and everything | :04:32. | :04:34. | |
at the time so there is all those connotations in it. | :04:35. | :04:38. | |
But apart from that, I just think that it is that | :04:39. | :04:42. | |
Snow White thing, the red and the white is such | :04:43. | :04:44. | |
Can you tell me about these masks here? | :04:45. | :05:06. | |
Yes, well, these actually, in light of what has recently | :05:07. | :05:09. | |
happened, the Bowie mask thing has taken | :05:10. | :05:13. | |
They almost have an air of a death mask, which they kind | :05:14. | :05:19. | |
So it is kind of quite strange because you almost, | :05:20. | :05:28. | |
Whereas one used to think you were waiting for the eyes | :05:29. | :05:37. | |
to open, now you kind of know they are not going to open. | :05:38. | :05:43. | |
What do you think the performers find appealing about wearing a mask? | :05:44. | :06:00. | |
It is a barrier and it's also a projection. | :06:01. | :06:05. | |
In a way, they're kind of hiding certain aspects of themselves behind | :06:06. | :06:09. | |
the mask and projecting other aspects through the mask | :06:10. | :06:11. | |
to the audience that they are reaching. | :06:12. | :06:16. | |
And it is a very interesting thing to see how performers actually | :06:17. | :06:20. | |
change, how their whole persona actually changes once they get | :06:21. | :06:23. | |
the mask on, whether it is a figurative mask or a literal mask, | :06:24. | :06:26. | |
whether it is cosmetics or they're actually using a mask. | :06:27. | :06:29. | |
And you really can see that happening as the mask goes on. | :06:30. | :06:40. | |
Of all the bands who have used masks, Slipknot kind of stand out | :06:41. | :06:43. | |
Imagine a metal band that ran away to join the circus. | :06:44. | :06:49. | |
But this circus was a circus of horrors. | :06:50. | :07:00. | |
The Grammy-winning band have been using masks on stage for 20 years. | :07:01. | :07:03. | |
Worldwide, they are more recognised by their fans as their masked | :07:04. | :07:11. | |
The masks hurt when they have them on, which is also awesome. | :07:12. | :07:25. | |
It just makes me horny, it makes me get off, OK?! | :07:26. | :07:33. | |
Artsnight caught up with lead singer Corey Taylor and percussionist | :07:34. | :07:37. | |
Shawn Crahan, AKA Clown, backstage in Gothenburg, | :07:38. | :07:42. | |
I had gotten a version of this mask when I was 14. | :07:43. | :07:51. | |
I just never knew why it was in my world but it was always around me. | :07:52. | :07:58. | |
And one day it just so happened, it was that moment of clarity, | :07:59. | :08:04. | |
I was there for the very first Slipknot show. | :08:05. | :08:26. | |
This was before I had joined the band. | :08:27. | :08:31. | |
It was so many different themes all at once. | :08:32. | :08:34. | |
It was antagonistic, it was dangerous, it was powerful, | :08:35. | :08:43. | |
like I had never seen a band like that before. | :08:44. | :08:51. | |
It was taking everything that had been done creatively, | :08:52. | :08:57. | |
artistically, visually, and, to me, taking it to such a different realm. | :08:58. | :09:01. | |
And I loved the fact that every mask was different because it represented | :09:02. | :09:08. | |
It wasn't all linear and just kind of thrown together. | :09:09. | :09:14. | |
And I really felt like everyone had put a lot of time and thought | :09:15. | :09:17. | |
So when I did join, after some trial and error, | :09:18. | :09:21. | |
it came to emboss that theory onto the mask I was wearing. | :09:22. | :09:27. | |
The mask for me has always been that physical representation | :09:28. | :09:33. | |
of the person inside me who just never had a voice. | :09:34. | :09:35. | |
You talk about the representation of the person on the inside. | :09:36. | :09:42. | |
I am showing you more than I'v ever revealed because if you take this | :09:43. | :09:48. | |
away, and it comes back to this, there are niceties, | :09:49. | :09:51. | |
there are manners and morals and rules, all of these things that | :09:52. | :09:55. | |
And just having to bump into other human beings, you know? | :09:56. | :10:00. | |
When it comes to this, you know, all bets are off. | :10:01. | :10:06. | |
And you can really let that animal off the chain as far as you really | :10:07. | :10:10. | |
None of us really know what we look like anyway. | :10:11. | :10:26. | |
We rely on mirrors and things like this but you cannot see | :10:27. | :10:29. | |
So we're all uncomfortable with our faces, we're always looking | :10:30. | :10:35. | |
for a better face, we're always looking to improve the eyebrows | :10:36. | :10:38. | |
or whatever we do, all of this crappy vanity, we never just | :10:39. | :10:43. | |
solidify the thought of who we are and we are always looking. | :10:44. | :10:49. | |
Everyone who wears a mask, embrace it because you are not | :10:50. | :10:57. | |
being somebody else, you're being yourself. | :10:58. | :11:00. | |
And the closer you can get to that middle, to getting to know that | :11:01. | :11:04. | |
honesty, is better for everybody because then you can | :11:05. | :11:07. | |
Slipknot are touring the UK between 8th and 15th February. | :11:08. | :11:26. | |
Masks have also been used recently in political protests, | :11:27. | :11:29. | |
Well, that is certainly one way of outwitting the CCTV. | :11:30. | :11:35. | |
The iconic mask was designed by David Lloyd for the graphic novel | :11:36. | :11:38. | |
The inspiration was Guy Fawkes, basically. | :11:39. | :12:07. | |
Because when we created V for Vendetta, the idea | :12:08. | :12:09. | |
was to bring him back in a sense, so he is kind of a resurrection | :12:10. | :12:13. | |
If you are going to resurrect Guy Fawkes, you have to use | :12:14. | :12:18. | |
the image of Guy Fawkes and what we know from Guy Fawkes | :12:19. | :12:21. | |
is basically prints of what we think he looked like. | :12:22. | :12:23. | |
So when you produce a mask that is supposed to look | :12:24. | :12:26. | |
like Guy Fawkes, you do a stylised version of it. | :12:27. | :12:30. | |
And that is basically where it came from. | :12:31. | :12:34. | |
The graphic novel was adapted for the big screen in 2005. | :12:35. | :12:40. | |
The film is set in an alternate future where a neofascist regime has | :12:41. | :12:44. | |
The screenplay for the film was written by the Wachowski | :12:45. | :12:51. | |
brothers, who also created The Matrix. | :12:52. | :12:53. | |
The movie fuelled a global interest in the graphic novel. | :12:54. | :12:55. | |
Can you tell me in your words what has happened to this mask? | :12:56. | :13:06. | |
Well, of course, it has become a piece of merchandise | :13:07. | :13:11. | |
It exists in the real world, now, as a symbol of protest | :13:12. | :13:23. | |
for all kinds of movements, from Anonymous to Occupy | :13:24. | :13:26. | |
and lots of political protests throughout the world, | :13:27. | :13:31. | |
It is good for me as an artist to see that happen because it is | :13:32. | :13:37. | |
something you have created that has sprung off the page. | :13:38. | :13:42. | |
But also I think it is great because it has become this symbol | :13:43. | :13:46. | |
of protest and freedom in lots of different causes. | :13:47. | :13:49. | |
So it has got a new life, so I am very happy about that. | :13:50. | :13:54. | |
Have you ever joined a protest in that mask? | :13:55. | :14:00. | |
No, I haven't, because I am too cynical, that's why. | :14:01. | :14:05. | |
I have a very cynical attitude to the possibilities | :14:06. | :14:08. | |
that we have in life, I have to say. | :14:09. | :14:12. | |
So I haven't, but I am very glad that people who are not so cynical | :14:13. | :14:16. | |
and who are idealistic, because without idealists | :14:17. | :14:18. | |
So I'm really glad that people are using that. | :14:19. | :14:29. | |
Vendetta was about somebody wanting to change the way things were, | :14:30. | :14:48. | |
to actually defeat a tyranny. And he adopts the persona | :14:49. | :14:52. | |
He doesn't want to do exactly what that revolutionary did, | :14:53. | :15:00. | |
Beneath this mask there is more than flesh. | :15:01. | :15:17. | |
Beneath this mask there is an idea, Mr Creedy. | :15:18. | :15:20. | |
It is very important to me that it represents protest | :15:21. | :15:26. | |
Wanting to tell people the way they should live or the way | :15:27. | :15:37. | |
And I think it is very important that that, | :15:38. | :15:42. | |
used to be this joke - no matter who you vote for, | :15:43. | :15:58. | |
It doesn't matter what government you get because corporations | :15:59. | :16:02. | |
So I'm just glad there are people around who do see the value | :16:03. | :16:09. | |
Thank you very much, David. | :16:10. | :16:27. | |
It has been really interesting to talk to you. | :16:28. | :16:29. | |
It's interesting to talk to you. | :16:30. | :16:31. | |
In America, it has been a girl thing for over 30 years. | :16:32. | :16:48. | |
The Guerrilla Girls, formed in 1985, use facts, | :16:49. | :16:53. | |
humour and striking visuals to expose discrimination | :16:54. | :16:54. | |
Well, they stage masked protests in the art world against racial | :16:55. | :17:04. | |
We are going to speak to them in New York on a Skype call. | :17:05. | :17:09. | |
"I'm" going to speak to them in New York. | :17:10. | :17:15. | |
I'm Monkey, I'm Nina's puppet, her alter ego, her mask, | :17:16. | :17:39. | |
What are the advantages of being an alter ego? | :17:40. | :17:48. | |
That's not the case with us. We're totally accountable. | :17:49. | :17:53. | |
We're masked avengers. Yeah? What's that like? | :17:54. | :18:07. | |
We've got to be outrageous, but also prove our case about issues | :18:08. | :18:12. | |
Using facts, humour, fake fur, our masks, etcetera. | :18:13. | :18:16. | |
And then your masks become your personas and you've got to be true | :18:17. | :18:19. | |
No one's ever asked us that before, but it's actually true. | :18:20. | :18:26. | |
We're us, but we're also not the real us. | :18:27. | :18:41. | |
And it's great to wake up in the morning and be able to choose | :18:42. | :18:44. | |
Your one self or your Guerrilla Girl self. | :18:45. | :18:47. | |
I mean, the Guerrilla Girls are just so much fun and we've been so lucky. | :18:48. | :18:52. | |
We've all worked so hard, everyone in our group, | :18:53. | :18:54. | |
all these years, on so many different issues. | :18:55. | :18:56. | |
And we feel really lucky that thousands and thousands | :18:57. | :18:58. | |
What they respond, saying, is, they want to do their own crazy kind | :18:59. | :19:02. | |
But to be honest, when we first took these masks we wanted | :19:03. | :19:19. | |
Because we were complaining about the art world which was a very | :19:20. | :19:23. | |
small and kind of vituperative place. | :19:24. | :19:24. | |
So we couldn't bite the hand that we wanted to feed us. | :19:25. | :19:27. | |
So it was kind of self-serving in the very beginning. | :19:28. | :19:30. | |
And then we realised we had tapped into something much more important | :19:31. | :19:33. | |
But no one knows who you really are yet? | :19:34. | :19:36. | |
Nobody knows and we want to keep it that way. | :19:37. | :19:38. | |
There have been over 55 members of the Guerrilla Girls | :19:39. | :19:44. | |
We are two of the founders and we have always worked with other | :19:45. | :19:48. | |
members and now we have new members, people coming in and out, | :19:49. | :19:51. | |
so there are a lot of former Guerrilla Girls out | :19:52. | :19:54. | |
there in addition to current Guerrilla Girls. | :19:55. | :20:21. | |
What do you consider your biggest achievements? | :20:22. | :20:24. | |
We have made it OK for people to account and criticise art | :20:25. | :20:29. | |
For a long time people thought the history of art was just la creme | :20:30. | :20:35. | |
And then we started to look at museums and | :20:36. | :20:51. | |
realised that they participate in institutional discrimination. | :20:52. | :20:53. | |
And that for a long time our history has | :20:54. | :21:01. | |
They can really control what is recorded in museums | :21:02. | :21:16. | |
And it does not come out of the art market. | :21:17. | :21:27. | |
Well, you know, there is a downside in that when you come up | :21:28. | :21:40. | |
as an artist you are used to getting credit for what you do, | :21:41. | :21:43. | |
so the Guerrilla Girls get the credit but our individual | :21:44. | :21:45. | |
We are egoless in an ego-driven world. | :21:46. | :21:48. | |
When you think about it, what kind of an art world | :21:49. | :21:51. | |
is it, that you have to wear gorilla masks to be taken seriously | :21:52. | :21:54. | |
Bye, you've got my Skype now, so call me again if you're feeling | :21:55. | :22:05. | |
Masks have been a part of global culture for years. | :22:06. | :22:24. | |
They enabled theatre to become more magnified and less personal. | :22:25. | :22:28. | |
But over time, masks have become a part of theatrical | :22:29. | :22:34. | |
No, his voice and face, masks ask for something deeper. | :22:35. | :22:44. | |
So I've come to the Trestle Theatre Company to see what that feels like. | :22:45. | :22:47. | |
What happens when a mask wears a mask? | :22:48. | :22:53. | |
Where the true self gets to express its true self? | :22:54. | :22:59. | |
I don't want to see you getting all weird, | :23:00. | :23:04. | |
Do your drama student stuff. I find it mortifying. | :23:05. | :23:12. | |
The Trestle Theatre Company in St Albans specialises | :23:13. | :23:29. | |
They work in schools, and with adults with mental health issues. | :23:30. | :23:47. | |
And also run their own acting workshops with masks. | :23:48. | :23:50. | |
Right, would you like to come and choose a mask? | :23:51. | :23:52. | |
I can't tell if he's smarmy or Machiavellian. | :23:53. | :23:55. | |
It's all in the body, there is absolutely no talking | :23:56. | :24:00. | |
and you don't want to eyeball your audience. | :24:01. | :24:07. | |
It doesn't essentially hold magical properties. | :24:08. | :24:14. | |
But what it does, there is something about the mask and the sense | :24:15. | :24:17. | |
of the imagination that gets unleashed | :24:18. | :24:18. | |
It's very accessible, immediate theatre. | :24:19. | :24:21. | |
You want to be her friend, but she doesn't want to be | :24:22. | :24:28. | |
This element allows you to be freer, for the imagination, | :24:29. | :24:35. | |
She's very upset now, did you realise that? | :24:36. | :24:48. | |
It is a key, somehow, to unlocking somebody to be more | :24:49. | :24:53. | |
Before we get into any sort of fights or anything let's say | :24:54. | :24:56. | |
that's how it's going to be, these two together, these two | :24:57. | :24:59. | |
together, excuse me, and you can turn around and you can | :25:00. | :25:02. | |
So is the mask a switch that enables you to enter | :25:03. | :25:10. | |
another persona, or is it unleashing you, what do you think it is? | :25:11. | :25:13. | |
The thing I felt, with having the mask | :25:14. | :25:15. | |
on, was that it just allowed me to forget everything else and just | :25:16. | :25:18. | |
It didn't feel that anything was contrived, it was just coming. | :25:19. | :25:24. | |
You didn't think about the acting, just get on with it. | :25:25. | :25:27. | |
I think it is as simple as hiding, sometimes. | :25:28. | :25:29. | |
You are just hidden behind something. | :25:30. | :25:33. | |
And it does, it's that thing that liberates you and lets | :25:34. | :25:35. | |
Picasso said, this is only one facet of the person I'm | :25:36. | :25:41. | |
There is this, this, this, and therefore you get that | :25:42. | :25:45. | |
And I think the mask is doing that, and it allows doors to open. | :25:46. | :25:49. | |
So, thinking about the half masks, the physicality thing is the same, | :25:50. | :25:59. | |
it's all in the body but obviously with | :26:00. | :26:02. | |
It is all about finding different voices that | :26:03. | :26:08. | |
Turn around and take your mask off then. | :26:09. | :26:27. | |
Lovely, that went right into your body! | :26:28. | :26:33. | |
The physicality of that was beautiful. | :26:34. | :26:34. | |
It is so enabling or befuddling, it is so | :26:35. | :26:46. | |
different when you put it on and then you act a certain way, | :26:47. | :26:49. | |
I'm thinking, can I blame that on the mask? | :26:50. | :27:03. | |
There is that sense of going, did I really? | :27:04. | :27:12. | |
It is like the one night stand gone wrong. | :27:13. | :27:15. | |
So, not only do masks provide us with a disguise to hide behind, | :27:16. | :27:31. | |
but they can unleash multiple personalities within us. | :27:32. | :27:33. | |
Are you ready to take your mask off now, Nina? | :27:34. | :27:35. | |
That's no good, the hand is still a mask. | :27:36. | :27:41. | |
Hello, world weather is certainly not going to behave itself during | :27:42. | :29:11. | |
the weekend, it will be blustery with heavy rain on the way, in fact | :29:12. | :29:16. | |
already to light in the south-west we will see gale force | :29:17. | :29:17. |