Introduction to masks In ancient Greek drama the performers wore masks to represent the character they were playing or the emotion that they were showing Actors in Greek plays often played several different parts and would put on a different mask for each part that they played The members of the ID: 1047461
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1. Greek Theatre – Masks in Greek Theatre
2. Introduction to masksIn ancient Greek drama, the performers wore masks to represent the character they were playing or the emotion that they were showing. Actors in Greek plays often played several different parts and would put on a different mask for each part that they played. The members of the chorus wore masks that were usually similar to each other, but completely different from those of the leading actors.
3. The masks were often brightly coloured with exaggerated features e.g. large eyes, large nose and mouth. This allowed the faces to be seen by all the people in the theatre, even those sitting in the back rows. The masks were usually made of a lightweight material such as linen, leather, cork or carved wood. To create the shape of the mask, the artist moulded the material around a marble or stone face (like papier-mâché). Human or animal hair was used for the hair.Introduction to masks
4. Review the following The Greek term for mask is persona and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Review the masks on the following side and discuss what character might wear this mask. Consider:How is character communicated using masks?
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6. Four emotionsAs we discussed, masks were created to enhance the actor’s ability to communicate emotions to the audience. In pairs, using your face, experiment with how you communicate emotions.Decide upon four emotions you can communicate clearly using your face, take a photo of this and in your logbooks note how this emotion is communicated (lines, shapes, angles).Discuss how you might exaggerate these expressions.Use the Greek Theatre Mask Design sheet to record your designs.
7. Cardboard masksLook carefully at your designs and pick two designs to make cardboard masks from. Draw the expression on the cardboard provided, making sure that the size matches your face. Ensure that the expression is exaggerated so audiences from a distance are able to see the emotions. Cut out the holes for the eyes and the mouth. Decorate appropriately using the resources provided. Cut holes in the sides and thread elastic, string or ribbon through them, so that the mask can be tied on your head.Check your masks fit your head and adjust the design accordingly.
8. Rules of masked performanceMasked theatre, like all form of performances, have specific practices that are unique. Never put a mask on, or take it off, in front of anyone.Don't touch the mask when wearing it; it destroys the illusion.Always remain 'in character' whilst in mask.Handle the masks with respect and never put them down face-down.Maintain a distance of six feet minimum between the performer and the audience.
9. Masking upWe will now practice putting on a mask for the very first time. It is important you remain focused during the task and show respect for the mask we are putting on. Collect a mask you designed in the last task.Turn your back to everyone/find a private space to work.Now pull the face/copy the expression of the mask as accurately as you can. Take your time with this process to really study every detail. It might help to imagine you are looking in a mirror as you look at the mask. The more time you spend with the mask at this stage, and the more accurately you take on the exact expression, the better the mask will work.Put the mask on. Make sure it fits well, the elastic is the correct tension, and that you can see. You will experience tunnel vision through pinhole eyes. Arrange your hair, a hat, wig or hood to cover the mask/hair line where possible.Keep pulling the face of the mask whilst you are wearing it at all times. This will ensure that you stay in character.Still working alone and with your back to the audience ( or off stage): Let the face 'melt' down into the body. Experiment with different ways of standing/ moving on the spot. Think about the state of tension in the body. Are there any particular physical characteristics to this mask? Try to inhabit the mask with your whole body now, taking the impetus from the face.Face your audience in the character of the mask, and when you’re ready begin to move around the space as your character.
10. ReflectionIn your logbooks, answer the following questions:What went well?What did not work?How could you improve it next time?