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Flip🦊🎭⚡

@flipdarsi

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🎭🎭🎭 There are a number of cultural and psychological factors converging in the experience of the mask. When someone covers up their own identity with a mask they become an abstract animation. If the mask conveys a symbolic meaning that we can read, we may be instantly aware of complex layers of meaning, or we may respond emotionally to the signals in the mask even beyond our conscious reasoning. The mask makes the actor into someone else, and we immediately accept them in their new role. Somehow, masks make us believe comfortably and safely in the illusion, the way a child believes in a cartoon character. Realistic plays with realistic make-up cause us to forget that a play is an illusion. It is ironic that masks, which are highly unrealistic, also make us forget that a play is an illusion.
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Mask is the essence of drama. The act of putting on a false face and becoming someone (or something) else for a moment has not been changed by time. The history of masks predates the history of drama and dance. Face decoration is at least as old as music and has been a part of storytelling since language development began on earth. Masks are used by people to communicate with others. Primal humans don animal masks or ghost masks and express their world. The 16th-century nobleman revels in the commedia dell’arte with its masked characters mocking his lifestyle. A clown strolls down the street in a parade able to delight young and old, who accept him as a jovial friend because of his clown face. Mask triggers what Coleridge called “willing suspension of disbelief” in theatre better than any other device. Chinese audiences recognize immediately the characters of lords and warriors whose elaborate, painted-on masks convey a long history of cultural tradition.
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