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Learn more about the different masks used by the actors for its development and growth.


whats is?

Neutral Mask is the result of the collaboration of two artisans from XX Century:

Amleto Sartori and Jacques Lecoq.

It’s a unique tool to work on presence on stage for any artist but in addition to this it make us aware of our body and its messages independent of our intentions.

whats is its use?

Knowing the real message we send at every moment to our interlocutors is a highly valued tool, not only for actors but for any person willing to find coherence between “ what I think, what I say and what I really do”.

Developing a real corporal consciousness is not only about wearing a Neutrak Mask.

what will we achieve?

We need a serious and deep work with it. It is a journey towards the “neutral”…

There are lot of theories about this Mask, but the paradox is that this important tool does not accept any theoretic hypothesis. It reveals its potential when practising physically with it.

If there is no a good praxis, it will be just an abstract thing, completely out of context and useless.

However, when the work with Neutral Mask is well understood, this Mask is able to deeply change in group and in a personal  way.



Larval Masks are originally from Basel, Switzerland, where locals use them in Carnival celebrations. Their shape is not completely achieved and we can glimpse a human form but is not clear one hundred per cent.

Lecoq was the first one introducing them in his pedagogy for the scene last Century. But since then, Larval Masks become more and more relevant in the actor training.


As they fully cover our face, they push actors towards a non verbal acting where the essence lays on their body, gestures and above all emotions. We, as actors, need to connect with them.

Its a wonderful tool which open a window to immerse ourselves in a poetic language, out of common, where nothing is banal at all.


From a pedagogic point of view, they become the perfect excuse for the actor to explore the field of feelings besides teaching us to create from evidence.

They propose us to work deeply about dramaturgy.



Since last Century onwards, when we speak about Commedia del’Arte, we can’t help associating it to Amleto Sartori. He reinvented the leather mask for the different characters of “La Commedia dell’arte”.


is son, Donato not only perpetuated his father technique but he improved it and he innovated it during the XX Century and part of the XXI.

It is also unavoidable to mention J. Lecoq who introduced them in his pedagogy or also Darío Fo, who contributed so much with his masked acting.


This new leather Sartori Masks have un invaluable meaning for actors who wear them and learn from them.

Every mask has been thought for the body and personality of each character which enable it to play a huge gamma of different registers.

These masks don’t cover the mouth, that’s why using the voice is almost a must but not only. On the contrary, it is a complement for the indispensable gestural work when acting with masks.

Studying and working on Commedia dell’arte is very important for the actor’s training, not only as a “theatre style” but also as a source of  tools for creation, and also to use them for scenes’ creation.

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