The Mask in Ancient Greek Drama:

Medea by Euripides


Every Tuesday from the 02 Oct 2018 until 4th of Dec 2018

Full Price £330   £280.50

Concession (Students -Artworkers): £280  £238

Unemployed: £260    £221

Limited Offer: £240    £204 (Only4 Tickets available)

(First come first served Policy)




The Mask in Ancient Greek Drama: Medea by Euripides



Please note that the prices listed above are for the entire course of 30 hours



Ludens Ensemble organises a series of workshops on the use of masks in Ancient Greek Drama. Focusing on Medea by Euripides we will work on several aspects on how to build a character, manipulate your voice and control your body while performing with a mask. Through this workshop, we will investigate how the mask becomes a key tool for experimenting with the body and exploring new ways to stage an ancient tragedy.



30 Hours up to 15 Participants

*(Please see the note at the end of INFO section)


The use of the mask in theatre, storytelling, and carnivalesque transformation is omnipresent. The power of the mask is fascinating in many levels: It is globally recognised for its universality, riveting attention, stimulating the imagination, and exploring deep emotions. The mask explores deep characterization and encourages physicality. Moreover, it gives meaning to gestures, produces a voice for itself and its manipulator/animator and gives meaning of silence and stillness. It is encouraging risk-taking and develops your inner buffoon.


Ludens Ensembles invites you to explore masks utilizing your bodies and voices while engaging in a discovery process that draws upon your emotions, perceptions, experiences, and memories. The goal of introducing such work is to trigger immediate, intuitive, and instinctual responses to both mask and character in the Ancient Greek Drama.


In the ancient theater the actors and the members of the chorus were playing wearing masks. The use of the mask ‘Prosopion’ came from the Dionysian mysteries. During the Dionysian mysteries people painted their faces with the deep red color of the first wine. The priest wore a mask that would make him transform (metamorphose) during the dithyramb which was an ancient Greek hymn performed in honor of god Dionysus. During the dithyramb Dionysus himself appears ‘on stage’. In the Ancient Greek Drama the performer by wearing a mask, was transforming himself into someone else, a hero, animal or a god. The mask, therefore, allowed ecstasy. It also facilitated the disguise of actors playing two or more roles, male and female, in the same work. Variations in masks helped the audience to distinguish sex, age, and social status.  Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona and simultaneously encouraged interdependency.





Workshop Outcomes:


  • Animating a mask using your body
  • Body Exercises
  • Building a character with a mask
  • Voice Training
  • Craft your own Mask
  • A Theoretical course discussing the uses of the Mask in Theatre and Film.
  • A neutral Mask to work at home
  • Certificate of participation




We are suggesting to buy the Following Book:


Medea by Euripides (Author), Michael Collier, Georgia Machemer,

Amazon Link: Press Here




Every Tuesday from the 02 October 2018 until 4th of December 2018


Time: 18.00 – 21.00




Summerhall: Old lab


1 Summerhall, Edinburgh EH9 1PL





0044 (0) 7449838021





Philippos Philippou


The Body and the Mask


Building a character with a mask:

2nd, 9th and 16th of October

6th, 13th, 20th, 27th of November

4th of December


We will work with masks in order to build characters from the Ancient Greek drama of Medea by Euripides.

Our focus will be on:

 i. The body and the mask, ii. Animating a character, iii. Breathing and speaking with the mask, iv. Positions of the mask v. Being Neutral, vi. stimulating the imagination, and arousing deep emotions.


Working with masks is a challenging process: We will begin with neutral masks and their uses. The aim of the exercises will be to gain participants’ trust, to allow risk-taking, and to eliminate the ‘inner voice/critic’ and give space to your ‘inner buffoon’.





Philippos Philippou is an award-winning stage director working with multimedia as well as with masks and puppetry for theatre. He is the Artistic Director at the Edinburgh based theatre company Ludens Ensemble. His work with Ludens Ensemble has been presented at the ‘Edinburgh Fringe Festival’, the ‘Hidden Door Festival’, the ‘Manipulate Visual Theatre Festival’ in Edinburgh, the ‘Theatre Der Dinge’ Festival in Berlin, the Shakespeare Theatre Festival of Shanghai’ and the ‘Experimental Theatre Festival’ of Hangzhou. He has also directed for the National Theatre of Greece and his adaptation on ‘Horror Stories from Japan’, which is based on the interaction of masks and puppets with video projections and animation, was nominated for the ‘Uchimura Prize 2010’ (Japan). Philippos has also been awarded the ‘English Literature Play Award’ by the University of Edinburgh in 2012. The use of new media strengthens his practice of opening up the drama on stage towards a visceral interaction with the audience.



Simon Hart


Voice workshop 2nd, 9th and 16th of October

In this workshop participants will learn about and engage practically with the physicality necessary to use and project the voice dynamically with stamina, textural variety and control in theatrical performance contexts.

Through the learning and repeated use of a wide range of body and voice workouts, warm-up routines, and speaking and declaiming exercises, participants will explore and master those essential physical elements and applied knowledge and understanding which form the core of confident, secure voice production and characterisation.




For the past thirty years Simon has enjoyed a busy, successful and varied career in the arts. Initially working as a classical singer following studies at the University of Glasgow and the Royal College of Music, Simon also taught singing and voice at RADA, and Queen Margaret and Aberdeen Universities. After also completing acting training at the Bristol Old Vic Theatre School, Simon appeared in many leading roles at, among others, Bristol Old Vic Theatre, Wolsey Theatre, Scottish Opera, the Royal Lyceum Theatre, Dundee Rep Theatre, as well as on TV.

Simon is now the artistic director of Puppet Animation Scotland, championing puppetry, visual theatre and animated films nationally, primarily through the organisation’s two annual festivals, the manipulate Visual Theatre Festival and the Puppet Animation Festival.

Gavin Glover


Mask Making: 23rd and 30th of October


This practical workshop will allow us to hopefully create a useable mask based on a Greek archetype.  We will sculpt the character’s face in clay and cover that in the material that will become the mask. We will be using some sharp instruments so care will have to be taken during the process. Please wear old clothes that you don’t mind getting dirty.




With many years experience as a theatre practitioner, Gavin Glover specialises in Puppetry in contemporary theatre and Micro Cinema Theatre. He has developed his own distinctive style of work in both visual and text based theatre and runs workshops internationally.

He is an established designer and maker of puppets and masks with recent commissions from the National Theatre of Scotland, the Abbey Theatre, Dublin and Ludens Ensemble.  He was a co-founder of Faulty Optic Theatre of Animation.



Vangelis Makriyannakis 20th of November


The Mask in Theatre and Cinema.


In this session we will discuss the cultural history of the mask in the Western World along with its uses in contemporary Theatre and Cinema. We will look at the relationship between the mask and the face while sketching a rough history of the mask starting from ancient drama all the way to modernity and film. We will discuss extracts drawn from various materials like books, films, paintings and photographs. From ancient burial masks to modern fashion and films like V for Vendetta the mask remains a source of fascination and intrigue both provoking and avoiding interpretation.




Vangelis Makriyannakis is a Dramaturg, Theatre Director and Film Scholar based in Edinburgh. He holds a PhD in Film Studies from the University of Edinburgh and his work has been published in international peer reviewed journals. He has taught film at the University of Edinburgh’s Undergraduate and ‘Short Courses’ programmes (2004 – 2014) and has given theory seminars and masterclasses in various institutions in Scotland and in Greece. He has been co-programmer for the Edinburgh Greek Film Festival (2001 -2008). He is co-founder of the theatre group Ludens Ensemble where he works as Dramaturg and co-Director. His work with Ludens has been presented in various international festivals in Scotland, Germany, Cyprus and China.




Once you book Please send us an email with your name, some contact details and the receipt of the payment ( This could be a screenshot of your bank account that is related to the workshop



Back to top