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Mask in Theatre masakha َ خَ سَ مbe transfomed

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Page 1: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Mask in Theatre

masakha َم�َس�َخ�be transfomed

Page 2: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Put on a mask and anything is possible.  Suddenly you can move, act, and think

differently.  The mask embodies the potential for

transformation of all kinds - emotional, spiritual, physical, and symbolic.

Page 3: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Mask

Culture

Theatre

GreekItalian Japan

KoreanChinese Opera

Page 4: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Greek Theatre

Thalia, the muse of comedy &Melpomene, the muse of tragedy

Page 5: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Greek Theatre 5th Century BC

Comedy & Tragedy

Big eyes and mouth

Exaggerated expression

Project broad emotions (happiness, sadness,

anger) to audience from great distance

Change of characters (Performance limited to 3

actors)

Page 6: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Roman TimesStylized – Grotesque -

Fantastic

Page 7: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Commedia-dell-arte

16th – 18th Century

Inspired Venetian Masks for the Carnival – the

Mardi Gras

Page 8: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

CharacterizationZanni

Zanni originates from Giovanni, a typical name of servants in Italy.

The role of Zanni is very changeable; silly, simple-minded and vulgar.

Zanni can also be sly, cunning and cheeky.Zanni is always poor and hungry.

Page 9: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Characterization

Pierrot

He is a kind and good character but to the point that he blames himself for the wrongs

he never did.

Too trusting and naïve, he is often cheated, joked on by others.

Page 10: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Noh Classical Japanese

Theatre Performed since the 14th

century

Tradition more than innovation

Influenced more dramatic form of theatre such as the Kabuki

Only SHITE, the main character, wears the mask

Masks are used to represent female or non-human characters (deities, demons, animals)

Page 11: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Characterization Deigan

Expression of a middle-aged woman

Deeply devoted to a loved one

Page 12: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

CharacterizationHannya

Horns and sharp fangs are characteristic of a demon.

Demon who is transformed from a woman because of jealousy and anger.

Hannya seeks vengence

Page 13: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Extravagant masks for deities or monsters

Uses body language to express emotions

Medium expression

Subtle

Versatile; can express a number of emotions by tilting the masks / adjusting the lighting

Page 14: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Korean T’al

Masks are grotesque, exaggerated and use dark and bright colors to suit performance at night by wood fires.

Red, black, white colors are favored.

Most of the masks depict human faces but some represent deities and animals.

An interesting feature is that the masks of yangban, the upper class gentlemen, are almost always deformed: a lopsided mouth, a distorted nose or squint eyes. (a reflection of the commoners' hostility toward the privileged class)

Page 15: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Chinese Opera

One of the oldest known dramatic art forms worldwide

Chinese opera masks are significant in a way that they represent the characters’ personalities and intense moods.

Opera masks are also used to represent various human emotions which leads to the “changing face” technique. (frequent on-stage change of facial expression)

Page 16: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

CharacterizationGuan Yu

Red indicates devotion, courage bravery, uprightness and loyalty.

A typical "red face" is Guan Yu, general of the period of the Three Kingdoms (220-280)He is famous for his faithfulness to his Emperor, Liu Bei.

Page 17: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

CharacterizationCao Cao

The white face is common on the stage for the powerful villain.

It highlights all that is bad in human nature: cunning, craftiness, and treachery.

Cao Cao, powerful and cruel prime minister in the time of the Three Kingdoms / Qin Hui, treacherous Song Dynasty prime minister who put the national hero YueFei to death

Page 18: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Masks in Theatre

Traditionally, masks were used for practical reasons:

- for audience to see the expressions of actor/actress to be seen from a great distance

- for a change of characters throughout the performance

Later, masks allow for the creative interpretation of characters

- the colors, lines and shapes become symbolic and meaningful

- stock character (stereotypical fictional characters) can also be represented

Page 19: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Mask

Culture

Theatre

GreekItalian

JapaneseKorean

Chinese

AztecEgyptianIndianAfricanPolynesian

Page 20: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Masks and Culture

Page 21: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

The Aztecs (Mexico)

Page 22: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

The Egyptians

Click icon to add picture

Page 23: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

The Indians

Page 24: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Balinese Mask

Page 25: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

African war mask

Page 26: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Polynesian Tiki Mask

Page 27: Mask CultureTheatre Greek Italian Japan Korean Chinese Opera

Masks and Culture

- Performance and dance (Harvest dance)- Religious rituals (Initiation rites)

- Death mask