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Japanese Noh Play Masks English Books Essay

The masks of Ancient Greek crisis and Japanese Noh crisis may appear to be completely different because of the appearance. You can say that the engineering and design of these masks would make them completely different and that because of this there would be no common similarities. However, when viewed in depth their functions, within a whole, are incredibly similar. Noh Dilemma Masks may have significantly more facial depth than those of Greek Masks but they both are caricatures of a genuine real human face, neither one being detailed enough to symbolize something life like; but both looking more like something you could find in a animation. The masks usually play upon one main appearance or feeling that the people may have. Also the masks are used to convey a character's personality and demeanor, not only just a character's appearance. Both of these culture's spectacle do that, display to the audience who a persona is without telling them immediately at the first appearance.

Ancient Greek theater began as an event during the celebration for Dionysus. However these events were not what we would think of when Greek Theater is mentioned. The first form of theater consisted of dithyrambs, also known as choral odes, until one professional named Thespis changed this by talking with the chorus. From here on theater advanced into a chorus and three stars. In ancient Greek theatre masks were created to not only display characters but permit the three actors to assume more than one role; since no play could have only three heroes this convention was necessary to the spectacle of the takes on. Also women weren't allowed to take action therefore the use of masks helped the illusion of having female individuals on level even though there were no women there; however, "women were allowed to sing in [the] chorus". The masks helped disguise the male actors to the audience and create the visions of the playwrights. The masks were created from "wood, towel or leather and were as creative as the folks who made them. Lots of the masks were furnished with wild hair, either man or pet, to complete the result. ". The masks were designed to have two small holes for the eyes and an opening for the mouth area, which was made to job the actor's tone such as a megaphone, so that the audience could listen to the actor no matter where they were seated. However even although actors would wear different masks to experiment with different characters there is "no indication that Greek tragic celebrities modified their pitch or delivery in virtually any large way when carrying out different characters within the same theatre. The audience still would recognize the distinctive tone of each of the three stars behind the masks. ". Besides actors the choruses would also wear them depending on whether women were in the chorus or not. Though "the one [chorus] that wore masks was the remarkable chorus, that the members of the dramatic chorus were men alone-unlike the dithyrambic chorus, which the members might be women".

"The choruses that women were excluded were the choruses which used and experienced always worn masks. Custom, from forever, had prescribed that men alone possessed the right of putting on masks. Masks and performing in Greece were inseparable; there is no operating without masks, and there have been no masks without behaving. To wear a cover up was to act a part; and the theory that it was even possible to act a part or even to perform in a play without using a mask was the one that never took place to the mind of those accountable for the Greek stage. ".

Masks were viewed as an important part to undertaking Greek play and without them something would be absent to the spectacle of the theater. The illusions that playwrights wanted to create for the audience would fall short without the utilization of these masks. The usage of them only enhanced the performance in conditions of the spectacle, supplying the audience more of a variety of characters and not only the three present on stage.

Much like Ancient Greek Theatre, Japanese Noh Episode developed from the impact of spiritual ceremonies and influence from Chinese theater. However, not only religion and foreign effect shaped this theater, it came into being when academics pursuits were combined with popular stage practices. "The Noh play is the most understated and complex development of japan tradition of ritual, dance, and dilemma, a tradition more than a thousand years of age. " The performs that were written because of this theatre were typically historically and literary centered. For this reason the heroes would already be known by the audience. The has would display a character, which was often a ghost or heart. Just like in ancient Greek theater, performers in Noh Episode wore masks. "[Masks] add amazingly to the dignified impression and help produce the result of any being aloof, a nature from another world which is nearly always the type of character displayed in this common crisis. " The masks were

"carved from one little bit of cypress wood. After the [mask] has been carved to the desired thickness, holes for eyes, nose and oral cavity have been cut, it is then layered with tiers of gesso blended with glue. This layer is then sanded down, offering the cover up its final form. Finally it is coated in the colors prescribed for the particular character plus some parts of it could be gilded. Some of the masks' sight are inlaid with metal leaving a tiny hole. The head of hair and the outlines of the sight are traced with dark-colored ink".

They would also add pet or human scalp to help make the persona masks more distinguishable and in depth. These masks however had to be very light because they were worn for the whole performance which could last a long time. "Masks [were] only worn by the key character; his cover up would stylize the individual it represents and show them in a truer light than fact could do by depicting only the essential traits of persona. You can find five categories of Noh masks: gods, demons, men, women and older people. " Sometimes more than one of these five would be mixed depending on the particular characters traits would have been. Spirits or Ghosts were normally depicted as looking similar to demons than men or women. "The masks used in Noh theater generally show a natural expression so that it is up to the skill of the actor to bring the mask alive through his acting. " However occasionally the masks play after one general appearance that might be excessively emphasized on the mask. "As the expressions of the masks mixed, the largest quantity are broad and humorous to look at and were evidently used to provide some emotional rest from the longer periods of serious religious observance. "

"In those days stage guidelines were on paper, outfits and masks were plainly described" this limited the actor's imagination, in terms of their character, but it also helped the actor in ways to understand his persona on not only an mental level but a physical level. Furthermore, like Greek theatre no women were permitted to react in Noh Dilemma, men were trained from child years to sing, act, mime and party. Due to this "the duty of accomplishing as a young girl [was] one of the very most challenging for any acting professional. The masks [were] relatively small plus they only cover the front of the face having only small openings for eyes, nostrils and mouth. ". They made female masks look dainty in comparison to those of men, gods, demons, and elderly. The female masks were also adorned with limited facial manifestation, each looking very similar. This small feminine mask would end up being difficult for Noh crisis actors but they could actually over come it for the sake of their performance. The masks, male and feminine, would sometimes be restructured to match the stars face more pleasantly and also in order that they would look more genuine, a cover up that didn't fit the celebrities face wouldn't normally be satisfactory. The masks would just have material, wood or cloth included into rather than completely remade because that would take to enough time. The masks played out a possibly more essential role in Noh Crisis than in Greek Drama.

Masks in both theatres were used to disguise their celebrities as a range of characters, from gods to men to even women. Both theatres used masks to pay for not having certain things available to them, such as female actors. Both also used the masks to display their religious icons within their productions, male and female similarly. Masks in both theatres would screen their Gods as well as mortal humans. Masks put into the entire experience for the play and helped the stars connect more using their characters. Putting on the masks made them feel similar to the character these were to experience and less like themselves, which helped make the illusion of the theatre more real for the audience. Masks were made to semi-resemble a human being face, though each face mask would have eye openings and an starting for the mouth. Performing for both theatres was done through the tone since the audience would be unable to see the actor's actual facial expressions, just the cosmetic manifestation of the face mask. However it could be hard to listen to the actor however the way the jaws was made in both theatres was to project the actor's voice in order that they would be able to be listened to by the audience. The attention holes were only lower wide enough for the actor to see, to have the ability to interact with the other actors and know where they were on the stage, however the audience wouldn't normally have the ability to see their eyes just the eye that were designed on the cover up itself. The sight designed on both theatres masks were more genuine than the rest of the mask. However the masks still only portrayed a face in one emotion, though each mask would be designed to portray a new emotion if it was needed for the type. In both forms of theatre the masks were viewed as an important costuming prop and you can not perform without it, the masks developed along with both of these theatres. This is one of the most important aspects of spectacle, with limited scenery and level conventions, masks played out a essential part to the theatre.

Albeit, Greek Theatre's and Noh Theatre's use of the masks were virtually identical within the whole productions spectacle they still have their differences. Greek masks were usually light in color while Noh Crisis masks could be any variety of color all depending on the actual director had required a identity to portray. There is also the difference with the way these masks were constructed. Noh dilemma masks had to be very light weight due to just how long the actors had to put them on while in Greek Play the masks would ponder more since celebrities would only be using them from scene to scene and constantly changing into another cover up because they enjoyed several figure role. Also the materials used to make the masks were different; Noh masks were usually made of only wood, while Greek masks were created from wood, fabric or leather. Greek masks acquired more of a number of materials for the base layer to be produced with however the amount of materials devote to make sure they are was significantly less than that of the Noh masks. Noh masks acquired more materials, which explains why they were more descriptive than Greek masks. Noh episode masks were also colored on for greater detail to get things such as the skin tone, aging and cosmetic aspects to look a particular way for the various people. Greek masks weren't as detailed in this esteem they all seemed to have the same resemblance and were not overly stylized. Despite having these few dissimilarities the masks were very similar and still a highly important prop to the theatre.

Both theatres, Greek and Noh, have their commonalities and their dissimilarities as it pertains to the takes on they preformed, the structure of plays and the spectacle it required to put up these plays. In theatre masks are usually used as an illusion to a character's appearance or even only a character's specific sentiment. As observed in both Ancient Greek and Japan Noh Crisis, masks have enjoyed an essential role to the development spectacle of the performance. "The face mask offers infinite theatrical opportunities to the practitioner who most profoundly recognizes its language" Much like Performing "wearing a face mask, compels an actor to assume personalities and awareness apart from his own. Both processes are an orientation along the way of impersonation, a personality-in-personalities strategy towards the understanding of man. "

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