This moment of face-to-face communication is said to allow the actor to become an other a symbolic pact of mutual recognition and association. This is exemplified in the actor’s ritual of holding the mask to face him in an act of greeting, prior to shoeing the mask and stepping onto stage. Possibly inverting the relationship of who sees and what can be seen.Ī valuable reference point for this project has been the teaching of Japanese Noh theatre, in which the mask works as an extension of the actor: nuanced like a face, while the face itself is displayed as an impassive mask.
central to our understanding of what it means to be human – is only ever in the process of approximating a subject: being filled by a subject, worn on the face of a subject. It treats the human face less as a facade but as an object that – even though.
The exhibition 'Echoes and Afterlives' looks at the boundaries between embalming and enmasking: being in a skin and under a skin, in and under a mask, looking at a mask and seeing through a mask as something that equally changes one’s gait and one’s voice while playing with sensations of displacement and transformation.
0 kommentar(er)
