It is difficult to say where and when they first began to make and use masks. Considering the images of ancient archaeological excavations, one can come to the conclusion that masks were put on the faces of the deceased. The golden mask was discovered by archaeologists in the burial of the Egyptian pharaoh.

It was believed that the mask protects the deceased from evil spirits. The mask was an attribute of ritual actions, it was made of leather, tree bark, matter.

With the development of the theater and its differentiation, make-up takes the form of a mask in ancient times. The mask of the Greek theater was different from the ritual or mask of the Oriental theatre. The Greek mask depicts a human face in generalized terms, it does not carry an individual character. There are references that the masks were invented by the sculptor Thespis. In the time of the playwright Aeschylus, colored masks appeared as coloring was introduced. Masks were put on the head like a helmet. At first, masks were made from wood and bast, later from plaster.

Since the auditoriums in the theaters of Ancient Greece and Rome were huge, the stage was located far from the audience, even in masks they made a device to amplify the voice of the actor. The inner part of the mask near the mouth was lined with silver and copper and looked like a funnel. With the development of theatrical production, masks began to be made from wax, leather, plastered linen, and linen. Sometimes the masks were doubled, tripled, which made it possible for a small number of actors to play several roles, to quickly transform. They began to make portrait theatrical masks, whose facial features were similar to famous people: kings, commanders. This offended, so over time, the portrait mask was banned. Half masks were rarely used. Later, they began to attach wigs made of tow, ropes to the masks. The head has greatly increased in size. In the medieval theater, masks were worn by actors depicting devils, Beelzebub, the devil.

The mask was further developed in the Italian "commedia dell'arte" in the Renaissance, which arose in the middle of the 17th century.

The masks of the "commedia dell'arte" were organically connected with the genre of improvisation, the buffoon style, and the specific features of the performance. The masks were more comfortable, they did not cover the entire face, one could observe the facial expressions of the actor. The masks were worn by four main characters of the “commedia dell'arte”: the Doctor, Pantalone, zani (two servants). Pantalone's mask was dark brown, with a heavily curled mustache and an exaggerated beard. The Doctor had a strange mask that only covered his forehead and nose. It was assumed that this came from the fact that initially it covered a large birthmark on the skin of the face. Brighella is a swarthy mask, as if the tanned skin of a Bergamo resident. Harlequin - the face is covered with a black mask with a round beard. In the 17th century, the masks of the "commedia dell'arte" lose their sharpness, lose their connection with real events, and become conditional theatrical attributes. The mask ceases to be a fundamental technique for decorating the actor's face.

The mask in the modern world has acquired a new sound, it is put on at the Venice Carnival. In Venice, it is customary to arrange lush, rich, colorful carnivals, using costumes and masks. The first mention of the carnival and Venice dates back to the 11th century. The Venetian Republic was rich, it lent money at high interest to royalty. Venice traded with the countries of the East, wealth flowed like a river. In 1296, a festival was held, which was legalized by the authorities in honor of strengthening the position of merchants. Carnival began to be held annually.

Noble persons liked to come to carnivals in Venice, they hid their faces under a mask. Traditional were the masks of the “commedia dell'arte”: Colombina, Pulcinello, Arlekino, as well as noble persons of the past, for example, Casanova. The most common mask was “bauta”, it had almond-shaped eyes (slits), and was white in color.

In Italy, in past centuries, it was customary for ladies to wear velvet masks when going out into the street, they were attached to long wooden handles. Similar masks were worn in Spain and England. The mask became an indispensable attribute like a cloak or sword during the time of the musketeers in Europe.

Under the masks, royal persons and robbers hid their faces. In Venice, in 1467, a strict decree was issued that forbade men to enter the novices of the monasteries, hiding their faces under a mask.

Modern carnival masks are elegant and beautiful, they are specially prepared in advance by artists, painting with gold and silver paints. The masks are complemented by hats, colored bows made of foil and shiny fabric, wigs made of tow, ribbons, lace.

The mask is entertaining at the carnival. Venetian masks are expensive, as they are true works of art.

It is customary that masks are also worn at merry New Year's balls, but they are less elaborate and made of cardboard. These are images of animals, dolls, clowns, parsley.

The mask has gone through a centuries-old path of development, but has not lost its purpose to hide the face of its owner.

1.2 Functions of the mask in the No theater

As we mentioned earlier, the key to understanding the No theater lies in the theatrical mask, since the actors of this theater do not resort to make-up and facial expressions. It is in the mask that many functions are incorporated, reflecting not only the philosophy of the “But” theater, but also the principles of the Eastern philosophical doctrine.

"Maska, maskus" from Latin - a mask, but there is an even more ancient word that most accurately reveals the essence of the mask "Sonaze" - to restrain. It was this function of the mask that was actively used in the ritual action. From the definition of E.A. Torchinov, who means by ritual a set of certain acts that have a sacred meaning and are aimed at reproducing one or another deep experience, or its symbolic representation, we can conclude that the mask is a shield that protects from the image, but at the same time some path to it (18, p. 67.).

There are 200 masks in the "No" theater, which are strictly classified. The most striking groups are: gods (characters of Buddhist and Shinto cults), men (court aristocrats, warriors, people from the people), women (court ladies, concubines of noble feudal lords, maids), insane (people shocked by grief), demons (characters of a fantasy world ). Masks are also different in age, character and appearance. Some masks are for specific plays, others can be used to create existing characters in any play. On this basis, the creators of the No Theater believed that the whole world was represented on their stage (9, p. 21).

The masks are cut in various sizes from carefully selected wood and painted with special paint. The mask making technology is so complex that most of the masks currently in use were created by famous mask carvers back in the 14th-17th centuries. Masks made by modern masters - imitation of old works. In this regard, we can judge that each of the masks of the theater is an independent work of art.

It should be noted that, despite all the variety of masks, in the theater "But" the mask often does not express a specific character, but is only his "ghost", a story, a generalization of the human form.

Since the literary material of the No theater is the folklore of ancient Japan, the mask in the theater serves as a conductor of spiritual experience. The mask carries all the distinctive features of not only the personality, the distinctive features of that time and was created at this time, it can be assumed that it immerses the viewer in the proposed circumstances.

At the same time, the mask distracts attention from the “local”, “seeing”, because, according to Eastern philosophers, “the truth is not open to the eye, the farther you go, the more you will see”, which is directly related to the philosophy of Zen Buddhism and the philosophy of the theater “But” . It also confirms the fundamental principles of the leading aesthetic concepts of the No theater - monomane and yugen.

The actor of the "But" theater does not always play the role in the mask. The mask is only worn by the main actor (shiete) and performers of female roles. Companions of the protagonist put on a mask only in the second act after the moment of "transformation". If the shiete is portraying a romantic character, the actor usually does not wear a mask. The actor's face, being without it, is absolutely static, since playing with the face in the theater "But" is considered vulgar.

Considering the theater "But", a modern researcher of the culture of the East - E. Grigorieva argues that the mask as a "calm emotion" resembles the vanity of passions. (8, p. 345) The mask is like "thunderous silence". It can be concluded that the mask is the key to revealing the essence of the role, is its history and result.

Before touching the mask, the actor tunes in to the "magical void" - completely cleanses himself. The theater expert, Grigory Kozintsev, recalls in his book The Space of Tragedy a conversation with Akira Kurasawa, an expert on the No theater. “I'm beginning to realize that 'putting on a mask' is as difficult a process as 'getting into character'. (8, p. 346) Long before the start of the performance, the artist stands near the mirror. The boy gives him a mask and he carefully takes it and silently peers into her features. The expression of the eyes changes imperceptibly, the appearance becomes different. The mask "passes into a person." After that, he slowly and solemnly puts on the mask and turns to the mirror. There is no longer a person and a mask separately, now they are a whole ”(8, p. 345-346.) From this it follows that the mask removes the actor from the outside world, contributes to his entry into the state of “not-I”.

The actor of the "But" theater never touches the front surface of the mask, touching it only in the place where there are strings that fasten the mask to the actor's face. After the performance, the mask is expelled from the actor in a similar way, and then placed in a special case until the next use. In fact, in any theater school, the role is "burned" after its implementation. Otherwise, the role will enslave the performer himself.

Putting on a mask, the actor literally becomes it, being the hero's guide, conveying not only his emotions, moral and physical image, but also his spirit. There should be only one feeling in his soul, which is expressed by a mask.

Only a talented actor is able to revive the mask, transforming its static into a character. Perhaps this is due to the play of light, changes in angle, movement, but there are other examples where these factors did not take place. The German playwright K. Zuckmayer in his memoirs describes a case that happened to the actor Verne Krause, when the ritual mask wept before his eyes, and the actor who was in it felt unspeakable pain. (4, pp. 109 -111)

In the mask, the actor of the “No” theater almost does not see the audience, but the audience does not see his face either. These invisible connections form the unified whole of the performance.

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The mask has long been an essential accessory at many events. This is a special "screen" for the face, which is made from a variety of materials and can have any look. By wearing a mask, you will not only create intrigue or completely hide your identity from others, but also add grace and chic to the image. Such accessories are intended not only for social events, they can be used professionally. It is difficult to imagine modern theatrical performances without special props and decorations. Theatrical masks create a special atmosphere of mystery and enhance the viewer's interest in the performance.

The history of this props began a long time ago, back in the Middle Ages, when local residents hid their faces at the time of various ceremonies and rituals. Such items were made from a variety of materials: paper, wood, papier-mâché, leather and even metal. Theatrical masks appeared from ritual masks, and their use has not changed to this day. The traditional ones looked like a regular overlay on the face with cutouts for the eyes, but over time they have changed a lot. Currently, you can find masks of various shapes, displaying images of different characters. The form of such an element in the form of makeup was used in the present, but a similar type of accessory is popular among mimes and clowns. Their production takes a little time and saves a lot of effort and money.

Theatrical masks are widely used in schools, kindergartens, camps and sanatoriums. Children are very fond of various holidays and entertainment. The best solution for such events is the use of theatrical masks and costumes. Parents try to order the most interesting outfits for their offspring, and the kids take part in the celebration of the New Year or the Theater have an even more diverse assortment than for adults. It will delight the imagination of every person and will not make even the most disappointed.

The peak of the glory of masks falls on the Renaissance, when carnivals, masquerades and other costumed celebrations became popular. Such evenings were held in the open air or in the palace chambers, where a huge number of invited guests flaunted incredible brilliance attire and masks. Then, after the advent of ballet, these accessories began to be used by actors as an addition to the stage image. Theatrical masks allow you to convey more emotions, help actors create an interesting image, intrigue and express complex, extraordinary emotions. Many of these elements have their own meaning. For example, in ancient Greece, a laughing and crying mask was a significant difference between the genre of performances: comedy or tragedy.

In the modern theater, the mask enhances the expressiveness of the actor's image, helps to overcome obsessive principles, standards, transcend prohibitions and expand the boundaries of what is accessible.

It is difficult to say where and when they first began to make and use masks. Considering the images of ancient archaeological excavations, one can come to the conclusion that masks were put on the faces of the deceased. The golden mask was discovered by archaeologists in the burial of the Egyptian pharaoh.

It was believed that the mask protects the deceased from evil spirits. The mask was an attribute of ritual actions; it was made of leather, tree bark, and fabric.

With the development of the theater and its differentiation, make-up takes the form of a mask in ancient times. The mask of the Greek theater was different from the ritual or mask of the Oriental theatre. The Greek mask depicts a human face in generalized terms, it does not carry an individual character. There are references that the masks were invented by the sculptor Thespis. In the time of the playwright Aeschylus, colored masks appeared as coloring was introduced. Masks were put on the head like a helmet. At first, masks were made from wood and bast, later from plaster.

Since the auditoriums in the theaters of ancient Greece and Rome were huge, the stage was located far from the audience, and in masks they made a device to amplify the voice of the actor. The inner part of the mask near the mouth was lined with silver and copper and looked like a funnel. With the development of theatrical production, masks began to be made from wax, leather, plastered linen, and linen. Sometimes the masks were doubled, tripled, which made it possible for a small number of actors to play several roles, to quickly transform. They began to make portrait theatrical masks, whose facial features were similar to famous people: kings, commanders. This offended, so over time, the portrait mask was banned. Half masks were rarely used. Later, they began to attach wigs made of tow, ropes to the masks. The head has greatly increased in size. In the medieval theater, masks were worn by actors depicting devils, Beelzebub, the devil.

The mask was further developed in the Italian "commedia dell'arte" in the Renaissance, which arose in the middle of the 17th century.

The masks of the "commedia dell'arte" were organically connected with the genre of improvisation, the buffoon style, and the specific features of the performance. The masks were more comfortable, they did not cover the entire face, one could observe the facial expressions of the actor. The masks were worn by four main characters of the “commedia dell'arte”: the Doctor, Pantalone, zani (two servants). Pantalone's mask was dark brown, with a heavily curled mustache and an exaggerated beard. The Doctor had a strange mask that only covered his forehead and nose. It was assumed that this came from the fact that initially it covered a large birthmark on the skin of the face. Brighella is a swarthy mask, as if the tanned skin of a Bergamo resident. Harlequin - the face is covered with a black mask with a round beard. In the 17th century, the masks of the "commedia dell'arte" lose their sharpness, lose their connection with real events, and become conditional theatrical attributes. The mask ceases to be a fundamental technique for decorating the actor's face.

The mask in the modern world has acquired a new meaning, it is put on at the Venice Carnival. In Venice, it is customary to arrange lush, rich, colorful carnivals, using costumes and masks. The first mention of the carnival and Venice dates back to the 11th century. The Venetian Republic was rich, it lent money at high interest to royalty. Venice traded with the countries of the East, wealth flowed like a river. In 1296, a festival was held, which was legalized by the authorities in honor of strengthening the position of merchants. Carnival began to be held annually.

Noble persons liked to come to carnivals in Venice, they hid their faces under a mask. Traditional were the masks of the “commedia dell'arte”: Colombina, Pulcinello, Arlekino, as well as noble persons of the past, for example, Casanova. The most common mask was “bauta”, it had almond-shaped eyes (slits), and was white in color.

In Italy, in past centuries, it was customary for ladies to wear velvet masks when going out into the street, they were attached to long wooden handles. Similar masks were worn in Spain and England. The mask became an indispensable attribute like a cloak or sword during the time of the musketeers in Europe.

Under the masks, royal persons and robbers hid their faces. In Venice, in 1467, a strict decree was issued that forbade men to enter the novices of monasteries, hiding their faces under a mask.

Modern carnival masks are elegant and beautiful, they are specially prepared in advance by artists, painting with gold and silver paints. The masks are complemented by hats, colored bows made of foil and shiny fabric, wigs made of tow, ribbons, lace.

The mask is entertaining at the carnival. Venetian masks are expensive, as they are true works of art.

It is customary that masks are also worn at merry New Year's balls, but they are less elaborate and made of cardboard. These are images of animals, dolls, clowns, parsley.

The mask has gone through a centuries-old path of development, but has not lost its purpose to hide the face of its owner.

As we mentioned earlier, the key to understanding the No theater lies in the theatrical mask, since the actors of this theater do not resort to make-up and facial expressions. It is in the mask that many functions are incorporated, reflecting not only the philosophy of the “But” theater, but also the principles of the Eastern philosophical doctrine.

"Maska, maskus" from Latin - a mask, but there is an even more ancient word that most accurately reveals the essence of the "Sonaze" mask - to restrain. It was this function of the mask that was actively used in the ritual action. From the definition of E.A. Torchinov, who means by ritual a set of certain acts that have a sacred meaning and are aimed at reproducing one or another deep experience, or its symbolic representation, we can conclude that the mask is a shield that protects from the image, but at the same time some path to it (18, p. 67.).

There are 200 masks in the "No" theater, which are strictly classified. The most striking groups are: gods (characters of Buddhist and Shinto cults), men (court aristocrats, warriors, people from the people), women (court ladies, concubines of noble feudal lords, maids), insane (people shocked by grief), demons (characters of a fantasy world ). Masks are also different in age, character and appearance. Some masks are for specific plays, others can be used to create existing characters in any play. On this basis, the creators of the No Theater believed that the whole world was represented on their stage (9, p. 21).

The masks are cut in various sizes from carefully selected wood and painted with special paint. The mask making technology is so complex that most of the masks currently in use were created by famous mask carvers back in the 14th-17th centuries. Masks made by modern masters - imitation of old works. In this regard, we can judge that each of the masks of the theater is an independent a work of art.

It should be noted that, despite all the variety of masks, in the theater "But" the mask often does not express a specific character, but is only his "ghost", a story, a generalization of the human form.

Since the literary material of the No theater is the folklore of ancient Japan, the mask in the theater serves as a conductor of spiritual experience. The mask carries all the distinctive features of not only the personality, the distinctive features of that time and was created at this time, it can be assumed that it immerses the viewer in the proposed circumstances.

At the same time, the mask distracts attention from the “local”, “seeing”, because, according to Eastern philosophers, “the truth is not open to the eye, the farther you go, the more you will see”, which is directly related to the philosophy of Zen Buddhism and the philosophy of the theater “But” . It also confirms the fundamental principles of the leading aesthetic concepts of the No theater - monomane and yugen.

The actor of the "But" theater does not always play the role in the mask. The mask is only worn by the main actor (shiete) and performers of female roles. Companions of the protagonist put on a mask only in the second act after the moment of "transformation". If the shiete is portraying a romantic character, the actor usually does not wear a mask. The actor's face, being without it, is absolutely static, since playing with the face in the theater "But" is considered vulgar.

Considering the theater "But", a modern researcher of the culture of the East - E. Grigorieva argues that the mask as a "calm emotion" resembles the vanity of passions. (8, p. 345) The mask is like "thunderous silence". It can be concluded that the mask is the key to revealing the essence of the role, is its history and result.

Before touching the mask, the actor tunes in to the "magical void" - completely cleanses himself. The theater expert, Grigory Kozintsev, recalls in his book The Space of Tragedy a conversation with Akira Kurasawa, an expert on the No theater. “I'm beginning to realize that 'putting on a mask' is as difficult a process as 'getting into character'. (8, p. 346) Long before the start of the performance, the artist stands near the mirror. The boy gives him a mask and he carefully takes it and silently peers into her features. The expression of the eyes changes imperceptibly, the appearance becomes different. The mask "passes into a person." After that, he slowly and solemnly puts on the mask and turns to the mirror. There is no longer a person and a mask separately, now they are a whole ”(8, p. 345-346.) From this it follows that the mask removes the actor from the outside world, contributes to his entry into the state of “not-I”.

The actor of the "But" theater never touches the front surface of the mask, touching it only in the place where there are strings that fasten the mask to the actor's face. After the performance, the mask is expelled from the actor in a similar way, and then placed in a special case until the next use. In fact, in any theater school, the role is "burned" after its implementation. Otherwise, the role will enslave the performer himself.

Putting on a mask, the actor literally becomes it, being the hero's guide, conveying not only his emotions, moral and physical image, but also his spirit. There should be only one feeling in his soul, which is expressed by a mask.

Only a talented actor is able to revive the mask, transforming its static into a character. Perhaps this is due to the play of light, changes in angle, movement, but there are other examples where these factors did not take place. The German playwright K. Zuckmayer in his memoirs describes a case that happened to the actor Verne Krause, when the ritual mask wept before his eyes, and the actor who was in it felt unspeakable pain. (4, pp. 109 -111)

In the mask, the actor of the “No” theater almost does not see the audience, but the audience does not see his face either. These invisible connections form the unified whole of the performance.