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Masks can have different shapes and characters, but all masks have in common the ability to reveal the depth of human essence. Bringing text beyond daily life, it filters substance and eliminates anecdotes. Jaques Le Coq
Research Centre for the Theatre Mask
The Mask is that artifice that immediately declares: theatre.
To approach the world of masks is to approach the beginnings of Theatre. It is to understand the roots and branches of the meanings of being and pretending; to deeply penetrate human soul; to situate oneself and others in the headlong dash towards the mystery of divinity and death.
Mask is a renunciation of the predominance of the actor’s ego, the narcissism of being mirrored by a recognizing and applauding audience. A theatrical mask denotes. It does not hide. It reveals. It does not hide. It unmasks; it does not mask. To wear a mask is to change the body, as well as the face, and to enter a game outside daily life; it is to essentialize expression and to wipe off anecdotal waste. When an actor must express a passion, he has to realize the mimesis of a natural phenomenon, which means taking on the corresponding tension of the soul that will determine all his bodily movements: a very difficult operation, that requires “intelligence” from the actor, a whole science” (Teofrasto). The mask reveals and forces such a science, such an art. In the words of Lecoq “Mask acting is not an exact science, but an exact art” |
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