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Masks and Metamorphosis Durham E-Theses Masks and metamorphosis Furlonger, Rose How to cite: Furlonger, Rose (1998) Masks and metamorphosis, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4660/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ROSE FURLONGER MASKS AND METAMORPHOSIS M.A. DEGREE 1998 MASKS AND METAMORPHOSIS ROSE FURLONGER ABSTRACT The purpose of this study is to consider the uses of the mask in ritual and theatre, and in particular the reputed influence of the mask over the wearer, and the experiences of 'trance' and 'possession' reported by anthropologists and mask practitioners and performers. The study also examines the role of the maker in creating a powerful tool for ritual and performance, and the comparatively rare phenomenon of the mask-maker who creates a mask which he or she will subsequently wear and the potential paradox of the maker 'possessed' by the object he has made. The first chapter focuses on the mask in its practical and ritualistic contexts in many cultures, and the second considers the concept of mask and transformation in ritual and theatre. The third describes a number of approaches to the use of mask in contemporary drama, in both the creation and performance of theatre. Chapter Four further investigates the effects of the mask on wearer and audience, and attempts to account for some of the experiences described by wearers. The fifth chapter examines the role of the mask maker in ritual and theatre, the relationship between mask and maker, and the maker as wearer. The sixth chapter centres on children as makers and wearers of masks, and focuses on primary school mask making and performance projects. The final chapter explores the relationship of the mask and the self, the assumed and the actual identities of the masquerader. Appendices I-XIV describe the experiences of mask makers and wearers in a variety of contexts, and provide additional evidence of the unusual sensations experienced by wearers. The thesis aims to investigate some of the causes of these phenomena and to consider strategies adopted by practitioners, directors and dramatherapists for utilising these heightened experiences to positive effect in performance. Masks and Metamorphosis ROSE FURLONGER M.A. : Degree University of Durham School of Education 1998 The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author an information derived from it should be acknowledged. = 2 NOV 1999 This is to certify that none of the material offered has previously been submitted by me for a degree in this or in any other University Signature .................................... Date ........................................... The copyright of this thesis rests with the author. No quotation from it should be published without her prior written consent and information from it should be acknowledged. Acknowledgements I wish to express my thanks to all the makers and wearers of masks whose creative work and thoughts have contributed to the content of this thesis. Special thanks are due to my daughter Pippa Furlonger, for undertaking a number of mask projects with her pupils at The Reay Primary School, Brixton, and allowing me to observe the work and interview the children involved. I would also like to thank my supervisor Dr. Michael Fleming of the School of Education, University of Durham, for his advice, support and encouragement at all stages of the development of this thesis. CONTENTS Introduction Chapterl Masks and Faces A Mankind's Need for Masks, Physical and Psychological 1 1. Masks in Everyday Life 2 2. Material Definition 4 B. Functions of Masks 7 1. Concealment 8 2. Practical Protection 10 3. Social Control 11 4. Punishment 11 5. Spiritual Protection 12 6. Healing 13 7. Fertility: hunting and agriculture 13 8. Initiation 14 9. Death, Burial and Perpetuation 15 10. Warfare 16 11. Satire 17 12. Witchcraft 17 13. Disclosure 18 14. Metamorphosis 18 15. The Power of the Mask 19 C. Contemporary Applications of Mask Tradition 19 D. Reactions to Masks 20 E. Masks in Museums and Galleries 21 F. Conclusion 22 Chapter 2 Mask and the Concept of Transformation 24 A Representation and Belief: the Use of Mask in Ritual 24 1. Representation and Presence 24 2. The Habitation of the Spirit: Wearer or Mask? 26 3. Motivation for Transformation 31 4. Physical Transformation: Rites of Passage 33 5. Spontaneity, Preparation and Secrecy 34 6. Belief and Acceptance 35 7. The Power of Masks of Other Cultures Over the Uninitiated Spectator 36 8. Conclusion 37 B. Mask and the Trance State 38 c. Masks and Transformation in the Theatre 39 1. Parallels with Ritual 39 2. Surrender to the Mask 40 3. Transformation in the Mask 43 4. The Contemporary Wearer, Mask and Trance 44 5. Transformation and the Audience 45 6. Conclusion 45 Chapter 3 Approaches to Masked Performance 47 A. Rationale for Masked performance 47 1. Reasons for Using Mask 47 2. Categories of Masked Performance 50 (i) Masks as Spectacle 50 (ii) Masks in Naturalistic Performance 51 3. Masks and the Creation of Dramatic Performance 52 4. Mask Techniques 55 (i) Introductory Exercises 55 (ii) Early Mask Work 55 (iii) Exercises of the Neutral Mask 56 (iv) Using Character Masks 58 5. Conventions of Mask Work 60 (i) Orientation to the Audience 60 (ii) The Mask and Movement 62 (iii) Masks and Hands 63 (iv) The Face Beneath the Mask 63 (v) The Use of Mirrors 65 (vi) Sounds or Silence 66 (vii) The Character and the Actor 71 B. Creation of Belief 72 C. Conclusion 73 Chapter 4 The Effects of Mask on Wearer and Audience 75 A Effects on the User 75 1. General 75 2. Inhabiting or Wearing a Mask 77 3. Actors' Responses: Resistance or Release 79 4. Masks and Licence 80 5. Concealment and Revelation 82 6. The Experience of Transformation or Possession 83 7. Physical Constraints and their Implications 85 8. The Removal of the Mask 87 B. Effects on the Audience 89 1. Illusion 89 2. Creation of Atmosphere 91 3. Visual Spectacle 92 4. Creation of Belief 92 5. Emotional Responses 93 c. Conclusion 96 Chapter 5 Part 1 Makers and Wearers 98 General Introduction 98 I. Ritual masks 99 A. Anthropological Background 99 1. Craftsmen and their Status 99 (i) Specialist Mask-makers 99 (ii) General Craftsmen 100 MASKS AND METAMORPHOSIS LIST OF ILLUSTRATIONS CHAPTER ONE: MASKS AND FACES Fig. No. Title Source Page 1. Jim Carrey, 'The Mask' Guardian, 10.6.96 3 2. Celebrity in sunglasses Guardian, 9 May 1998 3 3. Balaclava helmet Photograph, R Furlonger 4 4. Iroquois cornhusk mask Internet: http://www. maineantiquedigest .com /other/hotnewsi/htm 4 5. Baluba carved wooden chieftain's mask Willett, F., plate 148 4 6. Palmleaf mask, Cuba Photograph, R. Furlonger 4 7. Headtop mask, Ekoi, Nigeria Teuten, T., p 13 4 8. Shield mask, Nigeria Photograph, R. Furlonger 4 9. Bronze miniature masks, Benin Price, C., p 40 Pl. i 10. Polychrome wood carnival mask, Mexico Lechuga, R, & Sayer, C., fig 12 Pl. 1 11. Leather theatrical mask The Times, undated 1998 Pl. 1 12. Ivory pendant mask, Benin Sorell, W., fig 1 Pl. 1 13. Trestle skyscraper mask Company newsheet Pl. 1 14. North India drama masks Exhibition, Gordon Reece Gallery Photograph, R. Furlonger Pl. 1 15. Gelede dance, Nigeria Price, C, p 2 5 16. Hide Kachina mask, Zuni c. 1890 Feest., C., plate 3 7 Concealment 17. The Pirates of Penzance, poster, 1879 Theatre Museum collection Pl. 2 18. Phantom of the Opera The Times, undated cutting 1998 Pl. 2 19. Ku Klux Klan Guardian Weekend 11 July 1998 Pl. 2 20. Islamic veil The Times, 4.10.96 Pl. 2 21. Princess Diana Guardian, 10.6.96 Pl. 3 22. Michael Jackson Guardian, 10.6.96 Pl. 3 23. Clive Sinclair Observer Review, 15.12.96 Pl. 3 24. Armed robber in half mask Guardian, undated cutting Pl. 4 25. Student in stocking mask Photograph, R Furlonger Pl. 4 26. Masked policemen in Sicily arresting Mafia leader Giovanni Brusca Guardian 10.6.96 Pl. 4 27. Alexander Peden Masquerade, fig. 144 PI. 5 28. Protest demonstration 'The Scream' The Times 28.1.97 Pl. 5 29. 'The Scream' mask 2 The Guardian; undated cutting 1996 Pl. 5 30. Mexican demonstration National Geographic magazine Vol190no2August1996 Pl. 6 31. Pakistan demonstration Guardian, undated cutting 1998 Pl. 6 32. Batman and Robin, 1938 Masquerade, fig. 146 Pl. 7 33. Batman 1990s: closeup Guardian 6.12.97 Pl. 7 34. Batman 1990s: costume The Times Magazine 29.3.97 Pl. 7 35. Spiderman Masquerade, fig. 142 Pl. 7 36. Zorro Masquerade, fig. 147 Pl. 7 Practical Protection 37. Paul Gascoigne Guardian 10~6.96 Pl. 8 38. Cricketer Guardian, The Editor Supp. 9.5.98 Pl. 8 39. Miner's mask Masquerade, fig. 88 Pl. 8 40. Ice hockey goalkeeper's mask Masquerade, fig.
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