Why did Greek actors in the age of Sophocles always wear masks? In
this book, first published in 2007, David Wiles provided the first
book-length study of this question. He surveys the evidence of
vases and other monuments, arguing that they portray masks as part
of a process of transformation, and that masks were never seen in
the fifth century as autonomous objects. Wiles goes on to examine
experiments with the mask in twentieth-century theatre, tracing a
tension between the use of masks for possession and for alienation,
and he identifies a preference among modern classical scholars for
alienation. Wiles declines to distinguish the political aims of
Greek tragedy from its religious aims, and concludes that an
understanding of the mask allows us to see how Greek acting was
simultaneously text-centred and body-centred. This book challenges
orthodox views about how theatre relates to ritual, and provides
insight into the creative work of the actor.
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