mask presentation
DESCRIPTION
Instructor shares Elizabethan era masks and styles explored and used by craftspeople, actors and participants in the Venetian Carnivale and other venues.TRANSCRIPT
Masks in the
time of
Elizabeth
Venetian Masquerade Summary
The festival known as Carnival occurs
throughout much of the Roman Catholic
world. Many Americans, Catholic or not,
have attended the festivities in New
Orleans. But in Venice, Carnival traditions
go all the way back to the Renaissance.
For a 10-day period before Lent, from
the day after Christmas until Shrove
Tuesday, the ancient city comes alive
with masked revelers enjoying pageants,
commedia dell'arte, concerts and balls.
Carnival (originally "carnevale"), comes
from the Latin for "farewell to meat."
This boisterous festival marks the
beginning of Lent, the time before Easter
when Catholics refrain from eating meat.
The Carnival History
The oldest document pertaining to
the use of masks in Venice dates
back to 2nd May 1268.
As Christianity spread throughout
Europe, simple, pre-Lenten
celebrations evolved into what we
know as Carnival. But the tradition
of masquerading, for which Carnival
has become known, is much older
than that.
It has its roots in a Roman fertility
festival where masks were worn by
citizens and slaves alike.
1608 was an important year, the
13th August to be precise, when a
decree from the council of 10 was
issued declaring that the wearing of
the mask throughout the year
posed a serious threat to the
Republic.
To avoid the terrible consequences
of this immoral behavior, every
citizen, nobleman and foreigner
alike, was obliged to only wear a
mask during the days of carnival
and at official banquets.
Two different decrees (1699 and
1718) saw the prohibition of
wearing a mask during Lent and
other religious festivals which took
place during carnival.
The 1700s were the glory days of
the Venetian Carnival. In those
times, mask-wearing and other
unofficial activities continued past
Lent, well into the spring. Carnival
was a time of nonstop partying,
gambling and general
irresponsibility for people of all
social classes.
Of course this is all after Elizabethan times.
From the late 16th Century, the Heraldry of locations like Venice and Verona (the setting of Romeo and Juliet) was captured in words of the playwright William Shakespeare and brought to the audiences of England.
You may remember the scene when Romeo enters the Capulet Masquerade Ball with his Montague relatives.
Under the disguise, Romeo is able to steal away the heart of his true love and win the hearts of Shakespeare’s loyal fans.
The following few panels of this presentation will join both the time period of the plays by Shakespeare where masks are used as props, the period costumes developed today to capture the Elizabethan spirit and the modern masks that have been inspired by leatherwork and papier mache masks of the past.
Here are two of the dancer costumes designed for the play and referenced at Internet Shakespeare Editions : http://ise.uvic.ca/index.html . Other costumes follow on the next pages.
Here are the costumes redesigned for Juliet and Mercutio and Romeo’s costume on the next panel is followed by many delightful mask designs of today, inspired and influenced by the artisans and craftspeople of old. Enjoy!
Please note the IP addresses of sites providing media for this slideshow at the end.
"Djinn" Maker of mischiefs and magics,as wise and powerful asan ancient godling,commanded by the evenwiser king-sage, Solomon.
His face is deep blue and teal,and his power radiates ingleaming antique goldfrom his brow, whereingrows the jewel that ishis all-seeing third eye.(stretchy strap)
Gossamer" ~ fair from the artist’s Fae Collection inspired by the poetry of Edmund Spencer.
In 1596, Spencer penned his classic honoring Queen Elizabeth I, The Faerie Queene, (reference to her as a descendant of King Arthur.)
"Ruckus", No. 9
The classic jester,its face in gleaming black, its crown in bright colors and smothered in opalescent glitter, as small brass jingle bells dangle from it points.(stretch lace strap)
© Ryl Mandus
http://www.angel-mask.com/
http://www.angel-mask.com/gothicmx.htm
These masks are from Spain, handcrafted from Leather, and truly fantastic!
© Felix Gutierrez
Lots of character, variety, suspense, mystery- the masks provide a way for the people of Venice, of Shakespeare’s time to let their cares wash away in a most decadent way. This practice continues today on the streets of New Orleans during the city’s annual Mardi Gras celebration marking the beginning of Lent.
Masks have been used almost universally to represent characters in theatrical performances. Theatrical performances are a visual literature of a transient, momentary kind. It is most impressive because it can be seen as a reality; it expends itself by its very revelation. The mask participates as a more enduring element, since its form is physical.
The mask as a device for theatre first emerged in Western civilization from the religious practices of ancient Greece. In the worship of Dionysus, god of fecundity and the harvest, the communicants' attempt to impersonate the deity by donning goatskins and by imbibing wine eventually developed into the sophistication of masking. When a literature of worship appeared, a disguise, which consisted of a white linen mask hung over the face (a device supposedly initiated by Thespis, a 6th-century-BC poet who is credited with originating tragedy), enabled the leaders of the ceremony to make the god manifest. Thus symbolically identified, the communicant was inspired to speak in the first person, thereby giving birth to the art of drama.
In Greece the progress from ritual to ritual-drama was continued in highly formalized theatrical representations. Masks used in these productions became elaborate headpieces made of leather or painted canvas and depicted an extensive variety of personalities, ages, ranks, and occupations. Heavily coiffured and of a size to enlarge the actor's presence, the Greek mask seems to have been designed to throw the voice by means of a built-in megaphone device and, by exaggeration of the features, to make clear at a distance the precise nature of the character.Moreover, their use made it possible for the Greek actors—who were limited by convention to three speakers for each tragedy—to impersonate a number of different characters during the play simply by changing masks and costumes. Details from frescoes, mosaics, vase paintings, and fragments of stone sculpture that have survived to the present day provide most of what is known of the appearance of these ancient theatrical masks. The tendency of the early Greek and Roman artists to idealize their subjects throws doubt, however, upon the accuracy of these reproductions. In fact, some authorities maintain that the masks of the ancient theatre were crude affairs with little aesthetic appeal.
Its obvious to most theatrically minded people (thespians) and those that study Shakespeare- that the Bard felt the influence of his times to continue the traditions present in the theatrical art form of his day and to continue to share the tradition with later admirers of his work.
All of these beautiful Venetian Carnival Masks that follow were handmade in the Venetian tradition of "Mascareri" by some of the best mask makers in Venice, Italy!!! The positive e negative cast of every model is from a proprietary original design! In the Venetian Carnival masks market, these masks are the gold standard that new artisans try to copy, but they can not come close because they lack the knowledge and original materials to do so. With each handmade creation, you'll receive the highest possible quality in these Venetian Carnival Masks!
A 17TH-CENTURY death mask claimed to be that of British playwright William Shakespeare could be genuine, according to new research.The mask, discovered in a ragpicker's shop in 1842 and now owned by the German city of Darmstadt, has long been a subject of controversy. It bears the high forehead and prominent nose and beard associated with the Bard and bears the inscription "+ Ao Dm 1616", apparently meaning "Died Anno Domini 1616", the year Shakespeare passed away at the age of 52.
But leading scholars have questioned the provenance of the mask and also said it is not a close enough match to the tiny handful of portraits that can be attributed to Shakespeare.
References:
http://www.anymask.com/maskstore/historyofmask.html
http://bun.i.hosei.ac.jp/~engl/cfs/single/maskfethr.html
www.getimmediate.com/
cooling-collar/Masks.html
www.thecostumer.com/ store/subcat.cfm?
subcatID=223
http://www.deviantart.com/deviation/15965662/
http://www.deviantart.com/view/15556785/
http://www.deviantart.com/view/15556696/
http://www.deviantart.com/deviation/16785183/
ise.uvic.ca/.../Rom/
UVic1998/ByScene/Rom1.5.html
http://theaustralian.news.com.au/story/
0,20867,18245417-16947,00.html