Roman villa

It is the custom at the handsomely housed Roman Villa at Brading to have an annual exhibition of something or rather, gathered up from some mainland museum or other. The three we have been to so far have all been rather good, with this year’s (2016) exhibition being given over to a selection of masks from all over the world, via a collection of same held at Glasgow, almost certainly that at reference 1. With our visit last year being noticed at reference 2.

Some of the masks had been reconstructed from the real things from cunning photographs with a 3D printer, a method of exhibition I had not come across before.

One display suggested that acting in masks has been part of actor training in the west, being seen as a device to force the trainee actor to use his body and move, rather than just rely on the face, important though this last is as a vehicle of expression, part of our repertoire since we were mere monkeys.

Masks used in Greek plays, for much of the classical era, seemingly particularly associated with Menander. Rather stereotyped, in the way of the Commedia dell’Arte masks (see below), but with a suggestion that the expression of the mask might depend on the angle from which it was seen – which could be controlled by the actor to some extent. I got the impression that most of the masks on display were made to some well-known and long-standing pattern. Not a lot of free-lancing going on.

Masks used in Commedia dell’Arte. Often made of leather, perhaps only covering the upper part of the face, the nose and eyes, with some of the tools involved on display.

Masks used in the Japanese No theatre. Usually made of wood, with some of the tools on display, together with one mask (of a young woman) being shown in various stages of construction.

Masks from Mexico, Africa (I think), Korea and Indonesia (Java). Some of the Mexican ones had moving eyes or eyelids. Some helmet masks, but I forget from where they came.

All in all, a good show, something to draw one back to the Villa, something which one might otherwise pass on, there being a limit to the interest one can take in a villa, however stunningly presented. A show which left one pondering, as such a show should, about the place of such masks in the world. Going further, about the role of stereotypes more generally. The place of a stereotyped, caricatured character in serious drama. Or in not so serious drama, say in Marple, Lewis or Midsomer. With the thought that perhaps an actor nudging at the boundaries of the stereotype he is temporarily inhabiting is not so different from other artists nudging at the rules of their particular games. Perhaps, for example, the rules of harmony.

Investigating afterwards, I find that the outfit at reference 1 do indeed offer a travelling show, which you can take into your museum, stately home or whatever for a small number of thousands of pounds. A show which has been trundling around the country from some years. Which seems like a very good idea: one often reads of museums having lots of stuff in their basements which they do not have room to show, so packaging it up so that others can is a winner for everybody. And for those whose interest in masks has really taken off there is the thesis at reference 2. Possibly also of interest to those who learned the word ‘praxis’ in their student days. A word which used to be bandied about by theoreticians of the left.

PS: checking this morning, I was pleased to find that the word ‘Jung’ does get several mentions at reference 2. I was not the only one to make that particular link.

Reference 1: http://www.maskandpuppet.co.uk/collections/.

Reference 2: http://theses.gla.ac.uk/3942/1/2004KnightPhD.pdf.

Reference 3: http://psmv2.blogspot.co.uk/2015/07/roman-villa.html.

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