What is Hidden Behind the Mask?

Evelina Rioukhina, UNECE

History of Masks
The mask is any device, which wholly or partially conceals the face. It is significant to note the word “person” derives from a Greek word meaning mask, or the role played by an actor in a dramatic performance. Persona, “the mask”, is related to personality, the self or ego one reveals to the world. Masks have the ability to conceal, change, or transform the “person” behind the image into something or someone else. This metaphoric “else”, this “as if” quality of masks makes them both playful and powerful, and relates them to ritual, religious, and myth. Masks allow to pretend, and much more.

Masking has been around for at least 20,000 years. Images painted on cave walls in southern France depict human bodies with animal heads, this evidence has led some scholars to conclude that the association of these masked figures to drawings of animals is an indication of masked rituals of shamans’ rites intended to insure the continued presence of game. More conclusive evidence of a masking tradition is found at a site in the Sahara Desert dating to 10,000 years ago. The mask portrayed there bears a strong resemblance to masks used in West Africa in recent times. Masking tradition also existed in prehistoric Europe between 7,000 and 8,000 years ago.

Masks were made and used in the great civilizations of the Old and New Worlds. Death masks accompanied the Egyptian mummy to the tomb, and allowed the soul of the deceased to recognize the body after it returned to the tomb in the evening. Masks were used by the Aztecs and Maya of Middle America, and the Inca and other civilizations of the Andes. Finally, tribal societies continue to use masks ritually today.

In tribal societies masks are agents for curing illness, for combating witchcraft and sorcery, and for correcting the causes of affliction in general. The False Faces of the Iroquois people have this function, as do certain kinds of masks used in West Africa.

In other cultures the masks represent the forces of nature and life. Often these forces or energies are recordered in myths and are given human or animal form, as on the Northwest Coast of North America, and in some parts of Africa. Rituals performed for the continuance of life, so called “fertility rites”, also often involved masked performance, and usually correspond to seasonal changes or planting and harvesting ceremonies. The Pueblo peoples of the Sourthwestern United States perform dances to promote fertility and rainfall, as do Africans living in the drier regions of the Western Sudan.

The Ynuit in Alaska believed that every living creature had a double existence and could change at will into the form of a human being or an animal. Thus, Ynuit masks were often made as double faces – one of an animal and the other of a man. At certain stages of festive ceremonies, the outer mask would be lifted, exposing the other mask. In Brazil, the primitive natives made and wore masks representing animals, birds, and insects.

The Chinese, Indians, and Japanese used masks from ancient times in a variety of different ways including theatre. Masks were used in ancient Greece and Rome for drama and festivals. This is where the true use of the mask as an artistic device began. With the end of the ancient Roman civilization, masks fell into disuse. Early Christians frowned upon the use of the masks as a pagan practice.

Nowadays masks are widely used for carnivals. A carnival is a spontaneous manifestation of national playfulness, an expression of the nation’s sense of theatre. The most important carnivals are: Mardi Gras, Quebec Winter Carnival, Carnival in Rio de Janeiro, Carnival of Nice, Kölner Carnival, Il Carnevale di Viareggio, Le Carnaval de Binche, New Orleans Mardi Gras, and of course, one of the most remarquable carnivals in Europe is the Carnival of Venice or il Carnevale di Venezia, with its famous face masks, long history and traditions.

Masks of il Carnevale di Venezia
The Venetian face masks are the most significant component of the carnival. Venice Carnival masks fall into several categories:

• Commedia dell’Arte masks are based on traditional characters like Harlequin and Pierrot.
• Fantasy masks are figments of the mask maker’s imagination, although they may be inspired by historical designs.
• Traditional Venetian masks such as the white volto half-mask with nose cover and its variants, the “plague doctor’s” mask with its phallic beak. (Accord ing to tradition, the beak was intended to protect the wearer from being infected by the plague).

Masks are the hallmark of il Carnevale di Venezia. Venice’s Carnival began in the 11th Century, and the wearing of masks and costumes was well established by 1436, when mask makers or mascareri were officially recognized with their own guild.

The Carnival in Venice is said to have originated from an important victory of the “Repubblica della Serenissima” (as Venice was called at that time), in the war against Ulrico, Patriarch of Aquileia, in the year of
1162. To celebrate this victory, dances and reunions started to take place in San Marco Square. Of course, it was usual in those times, and due to the multicultural character of Venice, magicians and others joined the fun. Who for business, who for fun only.

The beginning this celebration started the day after Christmas and went on for several weeks. This carnival merrymaking acquired special sophistication. During the carnival days the town was ruled by tabarro – a long winter coat, bautta – a short raincoat and the carnival mask. The address was “Mr. Mask” and “Mrs. Mask”, the actor’s parts did not allow the viewers to recognize the person and reveal his/her identity. Forcible tearing the carnival mask off was punished by the authorities as violation of permissible play. Carnival Tuesday was the culminating day when the most diverse undertakings by various guilds used to take place all over the town and especially in San Marco Square, often with some historically justified origin that gave rise to the Venice Carnival tradition. The Venice Carnival is regarded as one of the most significant carnivals today.

Each year in February, Venice becomes a city of the manifestation of joy and playfulness, public festivity. The whole city turns into an immense theatre stage. At the carnival everyone, whether rich or poor, famous or unknown, is equal behind the mask. “Man is least himself when he talks in his own person. Give him a mask and he will tell the truth.” (Oscar Wilde). Is the mask on to reveal the truth, or, on the contrary, is the mask on to hide the truth?

Italy. Venice. San Marco Square
Performance begins…Joy, craziness and reason, all together. The music of Vivaldi, beautiful and mysterious masks…Every mask is made with the philosophy that are limitless to what can be created. Every mask hides enigma. Every mask keeps secret. Every mask fascinates imagination. 
What is hidden behind the mask?