Theatre Design & Technology - Winter 2005 - 38

The myths used by the mask makers I interviewed usually
come from legendary stories such as those found in the
Mahabharata, Mexican pastoral celebrations, Japanese Noh
dramas, Greek dramas, or even the classic Italian Roman/Renaissance commedia-styled skits. Some of them also explore
contemporary situations with contemporary characters. For
instance, Balinese mask maker I Bagus Anom and Mexican
mask maker Juan Horta take great delight in spoofing tourists
with masked versions of tourists with blank gazes. These tourist masks sometimes blend with legendary characters in the
stories of local comic masked performances.
American mask maker Bruce Marrs, in addition to his delightful versions of commedia characters looking like today's
drinking buddies and misfits, also creates original masks for
Dell'Arte International's contemporary satires, which take aim at
current political and economic situations. American mask maker
Newman has occasionally created gigantic versions of rock stars
such as Elvis Presley and Jimmy Hendrix. Swedish mask maker
Torbjorn Alstrom works with contemporary characters in contemporary situations. He says, "Somehow I believe that if my
mask work really succeeds, you will not see the myth behind
it. You will perhaps feel something familiar. I believe that the
mask creates an atmosphere of myth around the performance.
In this way, myth will always be present, modern or old."

Kim Dong-Pyo
Korea

✶

Kim Dong-Pyo, a self-taught mask carver, has become very
wealthy over the years, particularly with the factory he
established to sell versions of the traditional commedia
dell'arte styled Hahoe half-masks to tourists in the Andong
region. He specializes in performing the female masked
characters Pune (the flirtatious widow) and Kaksi (the silent
bride) from the Hahoe collection. "My best
time to make masks is between 10 p.m.
and 2 a.m. because I can fully concentrate
with no interruptions from my museum
curatorial activity or family. I like total
silence or sometimes low music while
carving my masks. I escape into a more
harmonious world. Sometimes I feel like a
monk with my life style-or perhaps like a
vampire! The face and personality of the
mask are in the wood and I try to dig out
the internal mind of the mask with my
carving. Each mask has its own spirit. You
have to see the entire moment of the
masked performance and the spirit of the
mask, or you don't see the mask at all."

✶ (contact: c/o Sangdae Lee,
phd@indorean.com)
TD & T

W I N T E R

2 0 0 5

37



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2005

Contents
Theatre Design & Technology - Winter 2005 - 1
Theatre Design & Technology - Winter 2005 - 2
Theatre Design & Technology - Winter 2005 - 3
Theatre Design & Technology - Winter 2005 - Contents
Theatre Design & Technology - Winter 2005 - 5
Theatre Design & Technology - Winter 2005 - 6
Theatre Design & Technology - Winter 2005 - 7
Theatre Design & Technology - Winter 2005 - 8
Theatre Design & Technology - Winter 2005 - 9
Theatre Design & Technology - Winter 2005 - 10
Theatre Design & Technology - Winter 2005 - 11
Theatre Design & Technology - Winter 2005 - 12
Theatre Design & Technology - Winter 2005 - 13
Theatre Design & Technology - Winter 2005 - 14
Theatre Design & Technology - Winter 2005 - 15
Theatre Design & Technology - Winter 2005 - 16
Theatre Design & Technology - Winter 2005 - 17
Theatre Design & Technology - Winter 2005 - 18
Theatre Design & Technology - Winter 2005 - 19
Theatre Design & Technology - Winter 2005 - 20
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