Essay On Theatre Masks

The use of masks in theatre, both functionally and symbolically can be dated back to hundreds of decades ago, along with speculations that the earliest masks came from the Neolithic period. While it is yet unknown which civilization first created or developed masks, it is clear that the existence of these masks are not without justifications. The non-theatrical use of the word “mask” is often referred to as the concealing of “something from view”, usually the human face (Oxford Dictionary Online). However, in many different types of theatre, masks do not solely function for the purpose of concealing. The function of masks differs for different forms of theatre, and is dependent on the relevant attributing background factors. Although the functions

Rather than a prop, a Noh mask is “the projection of the creator’s inner life inherent in the mask itself”, and is a companion with “magical and supernatural powers” to the actor. The masks not only show what the actor becomes on the surface, it transforms the actor, into what the mask is momentarily. Noh masks are treated with extreme reverence- even the act of putting on a mask by an actor is a ritualistic process. Traditional Noh actors sometimes meditate on the chosen mask months before a performance. This special relationship between a Noh actor and his mask is part of what makes for a guide to spiritual awakenings and enlightenment, for the actor to achieve a heightened ability to see beyond the surface of the mask, into a transpersonal state for the actor wearing the mask. The actor becomes one with the mask and in this state, the acting from the actor becomes a product of the spirit of the mask. This special relationship between the actor and the mask thus demonstrates the importance of the mask playing a big role in layering the foundation of Noh theatre itself. It is evident that without it, Noh cannot happen since that would equal to the essence and spirit of the art of Noh being