Theatre Design & Technology - Winter 2005 - 39

Even if myth is not clearly evident in the mask maker's
work, he/she inevitably explores archetypal qualities such as
those seen in mythic characters. These archetypal character
qualities most often show up in the forms of demons/villains,
heroes, gods, and protectors such as animal totems but also in
the form of Everyman figures. They can range from heroic figures on a major quest to flippant slaves/servants outwitting
their masters, or nonchalant gods conquered by trickster figures who force the gods to accept a truthful idea. We see
masked characters as archetypal figures found in historical
mythic dramas or in contemporary productions because they
have the power to resonate at eternal, universal levels.
Torbjorn Alstrom shows a contemporary version of this universality when he presents his commedia-esque Pulcinella character as an Everyman figure (not specifically as a Renaissance
version of Pulcinella) who depicts the potential malaise for
anyone regardless of time or place. Masks seem particularly
effective for presenting archetypal characters in a performance, perhaps because of their obviously exaggerated qualities.
Bruce Marr's "Stupino" mask, Kyoun Iwasaki's "despairing
woman mask," and Joyce Radtke's spiritual guide masks depict
timeless characters and transcend cultural influence.

Whatever their cultural backgrounds, mask makers recognize the value of incorporating masked performance with
music, dance, and theatrical performances that emerge from
the rhythmic dramatic states of tension found in storytelling.
Mask makers (unless making masks for tourists) rarely intend
for masks to hang on walls. They create masks to be part of a
more elaborate artistic presentation and purpose. The mask
brings life to the wearer and the wearer brings life to the
mask. The mask maker must create a mask that is relatively easy
to wear: one that allows for adequate visibility and that also helps
to accentuate the rhythmic gestures of the performer.
An especially important consideration for the mask
maker lies in determining the style of the mask.
Of course the mask maker's style invariably
comes directly from his/her cultural
images and icons. The mask maker
cannot consciously or subconsciously escape the assimilated
range of influential visual images within his/her culture.
Does this subliminal
collection of images neces-

I Wayan Dawig
Bali
✶
I Wayan Dawig prays and meditates every
morning. His teacher of mask carving was a
holy man and Dawig believes in the power of the
spirit of the altar for his mask making. (Altars are found in
most Balinese homes. His is shown below.) Dawig is known for his sacred Barong
masks with versions of cat, tiger, or pig influences depending on which region the mask
will reside when completed. The Barong mask is a good luck, protector mask performed
by two people in the Chinese dragon manner. Many other Balinese mask makers like
Dawig use a special lacquer paint made of white crushed pig bone and a glue derived
from boiling sharkskin and buffalo hide. He sometimes uses over thirty coats of this
special paint in order to get a strong smooth surface color.

✶ (contact: +62 361-299482)

38

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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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com