Commedia dell'arte masks

Commedia dell'arte masks are a type of mask worn by performers of commedia dell'arte theatre. Masks are an integral part of the performance, and each character wears a particular mask design. Masks were originally all made of leather, but are now more commonly made of neoprene. They are an extension of the actors and their costumes, hair, and accessories.[1][failed verification] The masks create an entirely different face for the people wearing them.[2][page needed] Masks in commedia dell'arte signify the type of role that each character represents, in essence saying that they belong to that unchanged type.[3][4]

Masks told the audience who the character was, what their social class and type was, what they would or would not do, and their attitudes.[5] For example, a comic mask is a nobody and a somebody at the same time, important even if a lowly servant. Characters who embody the upper class —usually the lovers or innamorati — and the female servants do not wear physical headpieces, but their personalities are still referred to as "masks".[6]

Commedia stock characters introduce themselves as soon as they notice the audience, and the mask helps them to do so.[2][page needed] To the audience, the actor's physical movements and embodiment of the stock characters, combined with the mask, help establish their character.[7] The masks and the lazzi comedic routines were connected; without the lazzo a character in a mask would be less entertaining.[2][page needed]

Commedia dell'arte originated in the 1530s and 1540s. Performers needed to be recognized immediately as the characters they portrayed,[2][page needed] but interactions between the actor, character, and mask can be nuanced. Many actors see the characters as a mask: with it on, they are that specific character; without it, they are themselves or another character. The Lovers can wear a mask as a disguise, however, and do not become another character. Actors are directed more by the mask than by the director; they use the movements associated with the character and follow their character's type. An actor must surrender his entire body to the character, not just change his face with the mask.[3]

  1. ^ "Newman's Commedia Mask Company: handmade leather commedia dell'arte masks". commediamask.com. Retrieved 8 December 2016.
  2. ^ a b c d Fava, Antonio. The Comic Mask in the Commedia dell'Arte. Northwestern University Press.
  3. ^ a b John., Rudlin (1 January 1994). Commedia dell'arte : an actor's handbook. Routledge. OCLC 27976194.
  4. ^ Copeau, Jacques. Reflexion d'un comedian sur le Paradoxes de Diderot'. Gallimard.
  5. ^ Schmitt, Natalie Crohn. Performing Commedia dell'Arte, 1570-1630. London. ISBN 978-0-429-02304-0. OCLC 1122565400.
  6. ^ Schmitt, Natalie Crohn. Performing Commedia dell'Arte, 1570-16 30. London. ISBN 978-0-429-02304-0. OCLC 1122565400.
  7. ^ "Commedia Dell' Arte". www.brown.edu. Retrieved 22 April 2020.