The Greek term for mask is ‘prosopon (means face)’. Masks were commonly used in Greek comedies and tragedies because of the cult of the wine god, Dionysus. Wine can make you feel two feelings happiness or a dark and sad feeling. Masks were an important part in the way people worshiped Lord Dionysus at Athens; they were used in ceremonial celebrations too. Most of the proof comes from only a few vase paintings of the 5th century BC, like the one showing a mask of the god suspended from a tree with
century BCE in the culturally-rich city of Athens. Originally, theaters were used for religious purposes. According to PBS, a Greek ruler named Pisistratus established a festival named the “City Dionysia” at around the sixth century BCE to commemorate Dionysus, the Greek god of fertility and wine (The Origins of Theatre-The First Plays). In other words, the concept of theatre derived from the Greek
Peucetians? Carpenter believes that Dionysus was a chthonic deity of sorts to the Apulians. This would also mean that the Apulians had different beliefs about the underworld. A sympotic afterlife awaited followers of Dionysus. (This is distinct from the paradisiacal Elysian Fields, which were reserved for warriors.) His thesis fits with his title, Dionysus and the Blessed on Apulian Red-figure. The Blessed refers to the deceased who as followers of Dionysus in life, are rewarded with a convivial
gods as well as religious festivals. The god that was at the center of this was Dionysus, the god of wine and fertility. Masks were frequently worn during this festivals. There are several important factors that are necessities in a Greek play. One the most important of these factors happen to be the use of masks. One of the finest contributions that Greek theater had on drama was when it was decided to incorporate masks into their performances. A Greek theater consisted of an orchestra and a
The mask Sun Mask was made by an unknown artist from the Kawakwaka’wakw (Kwakiutl) tribe from Canada and is on display in Gallery G260 in the Minneapolis Institute of Arts. It was created around the year 1860 CE and is made with wood, pigment, metal, cloth and cord. The mask’s dimensions are 43.82 x 40.01 x 12.38 cm (MIA placard). Sun Mask is, first and foremost, in the shape of a humanoid face; a oval-rectangle type of shape. There are two eyes, a nose, and a mouth resting where they normally
examine that the pigs don’t smell him but rather they see him. Jack resolves the problem by disguising his face with a red and black charcoal clay mask to camouflage with the surrounding. In addition, the mask is not only used for blending in with surroundings but as an excuse for violence and dictatorship over the other boys. Golding uses Jack’s first mask to represent his desire for power which influences his savagery self to unleash. Jack calls himself an “awesome stranger” when he takes a glimpse
In Kenneth Gergen’s “In Defence of Masks,” he argues that people wear different ‘masks’ to project different identities of themselves rather than having a single unified ‘self’. Although psychologists believe that wearing a ‘mask’ is awful and having a single unified ‘self’ is natural, Gergen’s experiments have led him to believe that it is not true at all. Gergen “think we are not apt to find a single basic self to which we can be true”, he believes that our identities are shaped by our society
The mask is a fascinating device that consists of magical, artistic and ritual applications. In the world of theatre, the mask surpasses the audience`s understanding of a character, as it possesses a unique form. A mask generally comes with strange powers and attributes. These traits can be used to theatrical advantage both for the actor wearing the mask and for his/her audience. This combination crafts an intriguing atmosphere and helps create the audience`s wonder and curiosity. Various cultures
of Disguise: Cultural Masks from the Art Museum Collection”, an exhibition hosted by the University of Wyoming Art Museum, features many sacred and decorative masks from non-Western cultures including Papua New Guinea, South America and Africa. Among the masks displayed is the Kifwebe Female Mask from the Finley Collection. The mask was created by the Songye (or Songe) people who originate from the Democratic Republic of Congo, formerly known as Zaire.1 The Kifwebe mask is an element which plays
The Need of Conformity In the Essay “In Defense Of Masks,” Kenneth Gergen’s assertion on masks is surprisingly ambivalent. The idea that inner-beauty is effective in the notion that people should respect one another the way they act on their feet instead of their appearance is, morally speaking rightful and that we should always be true to ourselves and construct this kind of “coherent identity.” Gergen however, dismisses the idea of a “coherent sense of identity” in which we only have