Imagination and the ability to model and paint could not go far in creating masks without the support of the knowledge of anatomy, zoology and anthropology, an understanding of racial differences, of the psychology of the human physiognomy and of humanity as a whole. The mask must be convincing to be effective ; therefore it must be based on the study of nature. This fact that the so-called facial expressions are not due to the con traction of the facial muscles, but are brought about by the movement and position of the head and the neck in relation to the rest of the body. This may be seen in Plate V., fig. 1, 2, 3 and 7, 8 and 9. Thus when the masked actor changes the position of his head we are under the impression that some thing has changed in the expression of the mask. A frowning man when his head is up looks aggressive, proud, pugnacious and com manding; but that same frown will give him an expression of sorrow and suffering if the head is lowered.
All this constitutes the effect that masks have on the onlooker. The wearer of masks is subject to another strange influence : as soon as he puts on a mask and starts to interpret its character through the action of his body, he will find his face unconsciously imitating the expression of the mask and he will find it difficult to stop this wasted mimicry. It would be amusing to see the rugged or stern masculine face of the wearer endeavouring to conform itself to the delicate and alluring femininity of the mask that covers it ; or twisting itself into the snarling fierceness of an ape, if that happens to be the mask he is wearing. But it is natural that the face must co-ordinate itself with the action of the body, and, moreover, the expression of the mask is re flected in the faces of the spectators and back to the wearer. For instance, a man wearing the mask, with the supercilious ex pression shown in Plate V. would find that people looking at him were all grinning in response and he in his turn would grin at them even though his face was hidden.
The creator of masks finds a great thrill and constant stimulus in the wide scope before him; in the limitless variety of types and expressions ; in the degree of realism or fantastic exaggera tion; in all shades of tragedy, comedy and burlesque. All the long gamut from noble countenances and alluring feminine beauty to terrifying demons, hobgoblins and all sorts of fantastic beings does not mean that it should always be naturalistic and realistic but even the most fantastic exaggerations in the grotesque masks should be based on that knowledge. Their structure, no matter
how bizarre, should be evolved from real forms that exist in nature, human or animal. We must feel the bone construction of the face, the tenseness or relaxation of the facial muscles and the quality of the skin. And all this does not mean that there is need of infinitesimal details. On the contrary, the effectiveness of a mask depends largely on the mystification by elimination of unimportant details and on the emphatic statement of everything that is essential in the type and expression.
To make a mask strong a durable material must be chosen, and then the mask so constructed that the durability can be en sured. This durable material should have other qualities that allow freedom of execution. Metals, wood, paper, rubber, silk, linen and papier mache are possible materials.
Papier Mache is the poorest material for such masks. It is weak and perishable and does not yield itself to refined finish. It is impossible to work into it delicate details or sharp edges. Wood is the material that has been used in all parts of the world. Japanese, American Indians, African tribes and South Sea Islanders carved masks out of wood. Although some of the most beautiful masks have been made of this material, it has a drawback in that the mask must be thick to prevent splitting, and conse quently is not easily adjustable. That happens often—the beauti ful Japanese NO masks often split. Wood, however, remains one of the best mediums. Tough paper tightly glued in layers and covered outside and inside with waterproof varnish and oilpaint is better and stronger than wood ; it cannot split, and the masks made of it can be thin and adjustable.