Anthropos: Anthropos, 79.1984

Anthropos, 79.1984

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Zeitschrift

Strukturtyp:: Zeitschrift

Werks-URN (URL):: https://digi.evifa.de/viewer/resolver?urn=urn:nbn:de:kobv:11-714820

URN:: urn:nbn:de:kobv:11-714820

Persistenter Identifier:: BV043334262

Titel:: Anthropos

Erscheinungsort:: Fribourg

Verlag:: Ed. St. Paul

Erscheinungsjahr:: 1906

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

Wissensgebiet:: Sozial- und Kulturanthropologie > Allgemeines

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Strukturtyp:: Zeitschriftenband

Werks-URN (URL):: https://digi.evifa.de/viewer/resolver?urn=urn:nbn:de:kobv:11-711819

URN:: urn:nbn:de:kobv:11-711819

Persistenter Identifier:: 1512370864325

Titel:: Anthropos, 79.1984

Erscheinungsjahr:: 1984

Signatur:: LA 1118

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

Zeitschriftenheft

Strukturtyp:: Zeitschriftenheft

Titel:: Bd. 79, 1984, Heft 1-3

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

Zeitschriftenartikel

Strukturtyp:: Zeitschriftenartikel

Titel:: Mask and Masking: A Survey of Their Universal Application to Theatre Practice

Sonstige Person:: Ebong, Inih A.

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

iropos 79. 1984: 1-12 Anth Mask and Masking: A Survey of Their Universal Application to Theatre Practice Wh A. Ebong Mask Characteristics and Attributes Quite frankly, the mask is a charismatic device sui generis; whether in its magical, ritual, re ligious, artistic, or socio-political conception an d application. Theatrically, it commands a Cognitive ubiquitous presence that could be distantly felt in the auditorium. It possesses a Co gnitive form, a consciousness, and an essence, f herefore, whether the mask is native, common- pbce, or exotic to the culture that uses it; whether !t is beautiful, placid, and sublime in form, structure, and appearance; or whether it is simply fierce-looking, horrendous, grotesque, and bl Zarre (like most African masks), a mask is generally presumed to be imbued with strange ftietaphysical powers and attributes. These could be (and they have been) translated into adept theatrical and aesthetic advantages both for the actor wearing the mask and for his audience. It is the peculiar combination of these attri stes in the mask which ineluctably activate Mbratory vectors that in turn create the strange tilings and atmosphere, characteristically native to the theatre - notably feelings of awe, wonder, a dmiration, and reverence which derive mostly * r °m paradoxes, such as those innate to attraction Inih Akpan Ebong, poet, playwright, critic, actor, and PUy director; honours degree in English (Drama) from the University of Nigeria, Nsukka; Master's Degree in Theatre from Michigan State University; member of the World leisure and Recreation Association (WLRA) and appointed l nto the International Commission for Leisure Information Exchange (INTERCALIX); since 1977 he is Lecturer at the University of Calabar, Nigeria, for Directing, Contemporary African, Third World, and Twentieth Century Theatre; in a ddition to his doctoral degree on “Utuekpe, a Nigerian ‘Folk Theatre"’ (University of Birmingham), Ebong is working on Urarnatic Theory and Criticism in Africa 1800—1980” and The Theatre Concepts of Wole Soyinka.” the mask has similarly been used for various geo-political, socio-cultural, and religious purpo ses, for example, warfare, divination, and rites de passage, even for exhibitions and tourist indulgen ces. It is virtually being used today in most cultures for the same or similar objectives. Historically, the mask is synonymously pre sumed to date the human society. Even though its true origins may be shrouded in an enigmatic and mysterious whirlpool, yet it could be speculated with some certainty and accuracy that mask and mythology share common origins and ancestry: both are living conceptions of the human mind, with the one explaining the other, and designed principally to teach, amplify, and reinforce the religions, history, aspirations, hopes, fears, mora lity, etc., of the community. Masks are, in fact, concretized and emblematic actualizations of mythological abstractions, specifically contrived to amplify, reinforce, and codify the beliefs, metaphysics, and cosmology of the community, including their basic and essential philosophy of life and existence. Therefore, its enigmatic origin notwithstanding, there is a considerable degree of unanimity about its artistic, religious, social, and other roles or functions in nearly every culture that has used the idiom. For example, it is almost universally accepted that the diverse applications of the mask idiom have their origins and roots in the religions, rituals, and theatre crafts of the so-called “primitive,” non-literate societies. Similarly, the Greeks are universally acknowl edged with scholarly accreditations for the “for mal” and “conventional” use of the mask in the theatre. Later centuries have equally followed in the footsteps of ancient Greece. Medieval thea tres, for instance, extensively used the various and repulsion, empathy and alienation, excite ment and alarm, etc. Apart from its extensive use for the myriad forms of theatrical entertainment,

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