Ritual-Drama Masks
In ancient Greece, the tradition of theatre was well established. Before the use of drama, the ancient Greeks would use rituals in order to honour their gods ( University of Southern Queensland (University of Southern Queensland ). However, ritual-drama was a new creation of theirs that gave them a new way to honor their gods (University of Southern Queensland). Greek drama begins with, “City Dionysia,” which was a drama in which the actors sang songs in honor of Dionysus (University Press Inc.). It was composed of a series of plays in which one actor would perform the song (University Press Inc.). Eventually, the cast size grew to three, and this introduced the need for masks (University Press Inc.). The masks were used in order to tell the characters apart (University Press Inc.). Additionally, the masks provided important technical features for the actors (University Press Inc.).
The masks worn by actors were specially designed to improve the actor’s voice (Vovolis). Greek masks are acoustic resonance masks; this meant that the mask enclosed the entire head and created an extra resonance chamber for the performer (Vovolis). In this sense, the mask itself becomes an instrument; it creates further head resonation allowing the performer to more efficiently control the volume of his voice, and improve the rhythm, direction, articulation and intonation (Vovolis). The masks also had small eyes holes, which minimized the actors sight, and consequently maximized his ability to listen to his fellow performers (Vovolis). By enabling the awareness on audio instead of visual, the masks provided the audience with a higher quality show (Vovolis).
Masks were also important in the understanding of the performance. They were shown with exaggerated features, either comedic or tragic (Vovolis). This helped the audience follow the plot of the play. They also aided the audience in distinguishing each character from the others (Vovolis). When chorus members were added to the tradition of ritual-drama, they would all wear the same mask to indicate that they are not individuals, but one cohesive unit (Vovolis). This exemplified the parts and the wholes in the play (Vovolis). The masks became so engraved in the tradition of ritual-drama that in the Classical period, there was no word to distinguish “face” from “mask” – they were one in the same (Vovolis).
The masks worn by actors were specially designed to improve the actor’s voice (Vovolis). Greek masks are acoustic resonance masks; this meant that the mask enclosed the entire head and created an extra resonance chamber for the performer (Vovolis). In this sense, the mask itself becomes an instrument; it creates further head resonation allowing the performer to more efficiently control the volume of his voice, and improve the rhythm, direction, articulation and intonation (Vovolis). The masks also had small eyes holes, which minimized the actors sight, and consequently maximized his ability to listen to his fellow performers (Vovolis). By enabling the awareness on audio instead of visual, the masks provided the audience with a higher quality show (Vovolis).
Masks were also important in the understanding of the performance. They were shown with exaggerated features, either comedic or tragic (Vovolis). This helped the audience follow the plot of the play. They also aided the audience in distinguishing each character from the others (Vovolis). When chorus members were added to the tradition of ritual-drama, they would all wear the same mask to indicate that they are not individuals, but one cohesive unit (Vovolis). This exemplified the parts and the wholes in the play (Vovolis). The masks became so engraved in the tradition of ritual-drama that in the Classical period, there was no word to distinguish “face” from “mask” – they were one in the same (Vovolis).