A common object in classical and Hellenistic artistic representations that reflect theatrical performances is the mask, carried by actors before or after the performance, or used as decoration. A characteristic example is the late classical Gnathia fragment in Wurzburg, which depicts a tragic actor holding his mask (Wurzburg H 4600 (L832)). As Richard Green observes, ‘It is one of the finer examples of Greek vase painting. . . in its depiction of the engaging contrast between the mean, rather shabby person of the actor and the heroic quality of the figure he has just portrayed’ (Green 2002: 99). The mask appears similar to a disembodied entity of Hellenic beauty. Its features and hair are not in any way exaggerated, and the face is characterized by ‘a calm and untroubled expression’.
The Greek masks of tragedy were not simple decorative objects or concealment devices, which aimed to hide the identity of the wearer (even though they did so) but embodiments of mythical characters of a heroic quality. Similarly, one could argue that the bodies of the tragic protagonists as depicted on the ‘Oedipus’ vase (London 1843.11-3.24 (E 169)), were also characterized by trimness and balanced proportions reflecting the heroic ideal of beauty as seen in most fifth - and fourth-century bce art. More specifically, the tall and respectable figure depicted in the centre of the tragic scene, generally taken as representing King Oedipus, stands evenly balanced with his legs straight dressed in an elaborately decorated garment. His elaborate costume, balanced bodily posture and physical height seem to signal his heroic status, especially if compared to the figure of the messenger which is standing on his left. The messenger is considerably shorter and wears different clothing, short dress and boots. Finally, it is quite natural that the wearing of long robes must have imposed bodily discipline and restricted gesture, maximizing the actor’s potential for speech (Wiles 2000: 159).
Recent scholarship has rightly shown an increasing interest in interpreting ancient drama in terms of its effect in performance practice. One could argue that the most credible source of information that benefits a theatrical interpretation of ancient drama is the limited but extremely valuable material evidence that has survived from antiquity for the physical appearance of actors and their masks. The earliest explicit depictions appear on a series of vases that date to the last decade of the fifth century bce and the beginning of the fourth. The most important and best preserved example is the Pronomos vase which shows performers of a satyr play celebrating a victory in the dramatic competitions (Naples 81673 (H 3240)). In this vase we have good evidence for masks and costumes from Athens in about 400 bce.
In the world of academia a great deal of research on the Greek mask has been built around the careful study of ancient iconography. An important example is the work undertaken by T. B.L. Webster and J. R. Green as part of ‘the ancient theatre project’ centred on the Institute of Classical Studies in London. This work involved building up a data-base of masks. Webster’s catalogues of masks (MOMC3, MNC3, MTS2) are historically valuable as they give an indication of the ancient theatrical masks’ appearance and popularity by period and area. A more performance-based approach of the ancient mask that also uses ancient iconography as a precious source of information has began to develop since the 1980s with the work of academics from the field of theatre studies and classics such as David Wiles, Oliver Taplin, Michael Walton, Nurit Yaari, Martha Johnson, C. W. Marshall and Claude Calame. Their work aims to show how masks can develop and shape our understanding of Greek theatre performance and society. A great deal of work, however, remains to be done on such issues as body language and its impact on the perception of masks.
World History
