One might argue that our play could be called Sophocles’ Creon, for the ruler has the the most complex struggle of any of the characters: one between family and state. Although Antigone is the title character, Creon's prominence would have been heightened by the fact that in Sophocles’ time, the Antigone would have been performed by three actors: the strongest taking the role of Creon; the second Antigone, Haemon, Tiresias, and Eurydice; and the third Ismene, the messenger, and the watchman. Each character would have a different mask to aid the actor in changing personae even though the set of characters presented would, in the case of Antigone, share similar characteristics. The mask both accentuates one emotion or trait and conceals or lessens others to show the characters unique identity of that moment.

The watchman and Ismene appear at first to be very different characters played by the same actor out of convenience. However, they share similarities in their relationship with Creon. Both are lower than him in status, and, although Ismene is higher than the watchman, she is more timid and careful and so brings herself down to a comparable social level. Yet they still have their own opinions of Creon's decisions and therefore express them with more caution and subtlety than the bold Antigone. The watchman is the only true comic relief in the play due to his blundering insolence and relative apathy of Creon's problems. He speaks with vague terms that obviously apply to Creon with the line, "It's terrible when false judgment guides the judge." Ismene is more direct in confronting Creon since he is a relative, but her point is often concealed within the mildness of a question, such as, "But will you really kill the bride of your son?"

Theatre mirrors life and is possible because an identity can never show the full self of a person, nor can it be true for all time since the self is always changing. No one mask serves the self perfectly, or the identity for that matter, since an identity is not viewed the same by all. A mask is a tool of the identity used to display the part of the identity intended to be viewed by the current audience. Identity is defined as a sameness, a constant, yet the persona and the mask show the variations within it. An identity has several overlapping facets and viewpoints: what one thinks one is, what one thinks one is showing others, and what others think one is. The self defines the identity and therefore chooses or creates the mask to wear. Yet a mask only shields the face, it does not erase the self behind it. Even the best of actors cannot hide from the fact that they are human and show their style through their art, and show themselves as normal people when they walk out the stage door. But the mask worn can affect the self as well; outside influences can shape the tangible identity and then the deeper one. If the environment changes the face or the emotions, the person will react or adjust to the new image or identity thrust upon him or her. They may not like the changes, but they must accept them as part of their whole person and work with them by whatever means they choose. Actors may dislike the characters that they play, but they put part of themselves into the personae they create by simply speaking their words or making their moves. An ancient Greek actor was identified as thus by holding a mask before him; the mask became the trademark of his art, setting him apart and yet connected with the people he played.

I've recently found a new form of art that bonds with my interest in personal and theatrical identities: makeup artistry. Not only making a face ready for the stage, but transforming an actor, someone I know in street clothes with real skin and distinct features, into a new person by giving them a new living mask. People are sometimes surprised when they hear about my latest hobby since I never wear makeup offstage or out of costume and don't give the impression of being someone who has to look the best. There is a stigma attached to makeup artists because they are often judged as being below the intellectuals that flock to discuss Shakespeare. Being of the latter breed, I know I would become frustrated working with artists and actors' egos. I would not want to go to work every day wearing a mask and to leave the philosophical discussions for my free time in order to do something I enjoy doing. I can't revolutionize a field to fit my personality, and I'm not willing to change my identity to fit in. In this case, my self and my identity would not choose that mask, and would create another one related to this part of my identity.

I designed the mask for Creon in this play, and it is not exactly how I pictured it before I jumped in and began shaping his new face without concrete plans. I fused a military helmet's broad, square cheeks with the pointed, powerful spikes on a crown. Because the mask had to be worn by three different actors, it had to be fairly loose and large, and the resulting facade is not comfortable for the character Creon, either. Half of the mask is complete, bold, smooth, and regal, whereas the other half is its crumbing counterpart, like the walls of Thebes just after the war.

Back to Sonya's Scene of Reflection

Posted at Jul 23/2007 11:31AM:
Jason: one idea can take many forms; what is the idea or character which binds Ismene, Messenger, and Guard?

Posted at Jul 24/2007 08:00AM:
Jason: Hi Sonya. I think you could probably just expand a little in the first paragraph—getting from the first the to the next sentences, and then I'd love to see a little bit related to my comment just above.

Would it be too in-their-face to talk a little (less abstractly) about the choices we/you've made about masks in our production?

See you soon.