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An illustrated overview of masks with emphasis on their meaning and importance in each of the cultures that produced them.
This book is about the use of exoticism, particularly the use of masks and stylized movement, in opera and other musical theater genres of the twentieth century. The author explores in depth a topic that effects a wide variety of important composers, dancers, and dramatists, but has never been comprehensively studied.
Informative pictorial survey of many authentic cover-ups worn around the world over a wide range of historical periods. Images of a Kwakiutl dance mask of wood and skin from British Columbia, a terra cotta mask from ancient Athens, an 18th-century porcelain Harlequin mask, a Javanese demon's mask of wood, a cloth mask embroidered with pearls from Cameroon, and many more. Invaluable to anthropologists and theatrical groups; of great interest to art lovers.
One morning in March 2020, Mom starts behaving very mysteriously: she is wearing a mask to go get groceries! What is going on here? Why would she put on a mask just to leave the house? The inquisitive young Detective Dillard is on the case! She interviews her family to find clues that will help her understand this strange new article of clothing and get to the bottom of the mystery that surrounds it. The Day the Masks Went On tells a funny, must-read story about the early days of a modern-day global pandemic, from a child’s perspective. As Dillard works to solve for unknowns, young readers will see themselves reflected back in her awe and uncertainty. In the end, discovering the meaning of the mask is not as important as learning that we can face difficult times and adapt to new situations by seeking to understand. The young detective was also reminded of the power of teamwork and a loving and supportive family.
An illustrated overview of masks with emphasis on their meaning and importance in each of the cultures that produced them.
Fletcher, the basset hound, tries to find out who is intent on ruining the masked ball celebrating the opening of a new park before the dance turns into a disaster.
Drawing on broad research, this study explores the different social and theatrical masking activities in England during the Middle Ages and the early 16th century. The authors present a coherent explanation of the many functions of masking, emphasizing the important links among festive practice, specialized ceremonial, and drama. They elucidate the intellectual, moral and social contexts for masking, and they examine the purposes and rewards for participants in the activity. The authors' insight into the masking games and performances of England's medieval and early Tudor periods illuminates many aspects of the thinking and culture of the times: issues of identity and community; performance and role-play; conceptions of the psyche and of the individual's position in social and spiritual structures. Masks and Masking in Medieval and Early Tudor England presents a broad overview of masking practices, demonstrating how active and prominent an element of medieval and pre-modern culture masking was. It has obvious interest for drama and literature critics of the medieval and early modern periods; but is also useful for historians of culture, theatre and anthropology. Through its analysis of masked play this study engages both with the history of theatre and performance, and with broader cultural and historical questions of social organization, identity and the self, the performance of power, and shifting spiritual understanding.
"Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh’s traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession. The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the ""ethos of noh,"" the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh’s professionalization--its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art. "
Presents nine plays that dramatize stories from Native American spirit folklore and legend.