Theatre Design & Technology - Fall 2010 - 40

per mask, which in 1920 represented an exceptional amount
of money. However she felt the price was justified considering
the time taken to construct the masks (as much as six months),
the skill of their creator and their evocative impact on the audience. benda eventually settled for a fifty dollars per week rental
fee for each mask.

Memoranda on Masks:
I hold more and more surely to the conviction that the
use of masks will be discovered eventually to be the freest
solution of the modern dramatist's problem as to how-
with the greatest possible dramatic clarity and economy of
means-he can express those profound hidden conflicts
of the mind which the probings of psychology continue to
disclose to us.

There are several written references to O'Neill utilizing
benda's masks in two of his early plays in the 1920s. Masks appear in The Emperor Jones (1920) and The Hairy Ape (1922),
The Great God Brown (1926) and Lazarus Laughed (1926).
However there are no references to the mask maker in the programs or reviews for any of these plays and benda's family has
only anecdotal references to benda's work with O'Neill. A New
York Herald Tribune book review about benda's Masks, written by theater critic Kenneth McGowan, 24 April 1945, may offer a clue to which productions they collaborated on.
Benda is against such use of masks as Eugene O'Neill
made in his 'The Great God Brown' and 'Lazarus
laughed.' Benda sees them [masks] them only as an
adjunct to pantomime-where they are undeniably at
their best. They should be silent, he says, content to speak
only through their lines and their modeling.

Benda with "Blue Demon" and Margaret Severn with "Long Eyes" masks.
Similarly Grace Christie created dances featuring benda's
masks for a london review satirically entitled The League of
Notions. Christy can also be seen in a Pathe Newsreel performing in benda's "Peacock Mask".
This was a period in which theater had begun to rediscover the power of masks. In 1908, Edward Gordon Craig began to
publish The Mask which was the first magazine devoted entirely
to the theater. In his 1910 article, "A Note on Masks," Craig
extolled the mask's ability to engage the audience's imagination
and "soul." William butler Yeats, dissatisfied with naturalistic
theater, hoped that his Abbey Theater would be the first modern venue to use masks and wrote plays specifically to explore
mask work on stage. In 1921, the School of the vieux-Colombier opened under the direction of Jacques Copeau whose actor
training program explored using masks to reexamine commedia style improvisation and the use of the dispassionate "noble
mask" (a forerunner of the Jacques lecoq's neutral mask).
benda became a principle proponent of this mask resurgence when he was commissioned to create masks for Noel
Coward and Eugene O'Neill. O'Neill had begun to use masks
in his plays as a highly theatrical means to explore psychological insights into the human condition. O'Neill wrote in his

38

theatre

design

&

technology

F

A

L

L

2010

In these two productions life like masks of the actor's faces are worn to indicate their hidden and repressed emotions.
The masks are removed whenever the character is vulnerable
and reveals their true desires and fears. Still this reference is
tenuous and further investigation is required. likewise benda's
masks are credited with taking the stage in a dance number in
one of Noel Coward's reviews. Yet evidence of the review his
masks appeared in is also anecdotal and inconclusive.
Articles by and about benda's false faces flourished in the
pages of Le Theâter, The Tattler, Ladies Home Journal, Theater Arts Magazine, and in the frames of the Pathe Newsreels,
Noted photographer Edward Steichen was even commissioned
to photograph fashion models Marion Morehouse and Helen
lyons wearing the masks "Golden beauty" and "dolorosa" for
a Vogue Magazine layout in 1926. So life-like were benda's
"false faces" that many readers didn't notice that the models
were wearing masks.
by 1930 benda was regarded as a world-recognized authority on masks and was commissioned to write the Encyclopedia Britannica entry on masks. In 1939 his masks were
exhibited at the brooklyn Museum's Mask Exhibit. In 1944
he wrote Masks as part of Watson-Guptill's Step by Step Series which included a history of masks, illustrating mask construction techniques along with numerous pictures of his own
masks. benda even artfully showcased nude photo studies of
models wearing only his masks. Masks, and its reissue in 1945,
enjoyed wide use as a textbook and is now a collector's item
among mask artists.
Hollywood also took note of benda's talents. It was a
natural choice for Collier's to commission their favorite artist



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2010

Contents
Theatre Design & Technology - Fall 2010 - 1
Theatre Design & Technology - Fall 2010 - 2
Theatre Design & Technology - Fall 2010 - 3
Theatre Design & Technology - Fall 2010 - Contents
Theatre Design & Technology - Fall 2010 - 5
Theatre Design & Technology - Fall 2010 - 6
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