/* PRIVILÉGIOS DE SÍSIFO 反对 一 切 現代性に対して - 風想像力: Protocol for a Mask

PRIVILÉGIOS DE SÍSIFO 反对 一 切 現代性に対して - 風想像力

LES PRIVILÉGES DE SISYPHE - SISYPHUS'PRIVILEGES - LOS PRIVILÉGIOS DE SÍSIFO - 風想像力 CONTRA CONTRE AGAINST MODERNISM Gegen Modernität CONTRA LA MODERNITÁ E FALSO CAVIARE SAIAM DA AUTOESTRADA FLY WITH WHOMEVER YOU CAN SORTEZ DE LA QUEUE Contra Tudo : De la Musique Avant Toute Chose: le Retour de la Poèsie comme Seule Connaissance ou La Solitude Extréme du Dandy Ibérique - Ensaios de uma Altermodernidade すべてに対して


Protocol for a Mask

1. We use a mask to enhance our face, not to avoid it.
2. We use our face, to enhance the mask.

This dispels the primary idea of "hiding". Who hides, anyway? Nobodies hide, but then in a nobody there is nobody to hide. So it´s tautological for a nobody to hide behind a mask.

3. A mask has as much expression as the face behind.

This means there are no static masks. In a good No play the task of the player is to animate the mask. How does he achieves it? Not only by animating his body but also by infusing "Ki" in the mask. If he succeeds there is an immediate end to inanimate masks, or masks just as "tool."

4. A flesh mask used as a professional tool. Example: any official carcather, a judge, a cop, a priest, a don, any authority as a matter of fact, has an expressionelss mask (or rather mono expressive mask) made of flesh glued to his own flesh and soul. This you find in any theatre and venues of life
anytime. They're self-made masks and, alas, unmovable, generally speaking.

5. The use of mask, as enhancer is epistemological.

In greek classical play you don't hide behind a mask to represent a god or a godess, a legendary hero like Achilles. You become the god, you are Achilles. This state of being~becoming is konwn as the actor´s metanoia, the actor´s transcendence of his own ego. That´s why sometimes good actors are endowed with Grace and dignity.

We'll come back soon, I hope, to this theme.


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