Ferdinando Falossi – Fernando Mastropasqua LA POESIA DELLA MASCHERA

Dario — Sat, 12 Dec 2015 22:38:48 +0000

About a year after the publication of the book “L’incanto della maschera. Origini e forme di una testa vuota”, Fernando Mastropasqua and Ferdinando Falossi present the second volume, “La poesia della maschera. Una testa vuota fonte di conoscenza”.
After the Enchantment, the Poetry. The mask is the theater.
“L’incanto della maschera” aimed to frame the culture of classical Greece, and in particular the theater and its concept of the metamorphosis of the actor, from an anthropological perspective. The Poetry of the Mask addresses the problem of the poetic language of the mask itself. We enter into the details of the three different genres of the Greek theater of the classical period: Comedy, Tragedy and Satyric Drama, and we see how the construction technique of the mask and its dynamics go hand in hand with the evolution of the theatrical language.
The mask is generated in the sphere of revelation of the sacred. Its original emergence is a cavity inhabited by alien and unknown powers capable of pouring the visible manifestation of their presence beyond the void. Imbued with spiritual substance, it stands in the first instance as a cultural phenomenon of communication, but soon expands its iconic language beyond the boundaries of the supernatural. The cavity opens all the ways of metamorphosis. If being the original, and not simply representing it, is the specific of the icon, then, when what becomes present is no longer a spirit or a god but the pain of man or his ability to laugh at his own being born , that cry and that laugh acquire the dimension of an experiential knowledge of life. When the mask welcomes the vital needs of the human sphere, or in the theater season, the liturgical verb becomes poetic language and, at the origins of our culture, art forms such as tragedy, comedy, satyric drama are born. . From that moment on, the hollow space of the mask welcomes a multiplicity of beings to whom it will give voice and expression, but wearing an icon and becoming what a mask makes present will continue to contaminate even what is exquisitely human with the sacred.

Ferdinando Falossi – Fernando Mastropasqua L’INCANTO DELLA MASCHERA

Dario — Tue, 22 Jul 2014 21:15:25 +0000

Everywhere the appearance of the mask arouses restlessness and contrasting senses of bewilderment, amazement, admiration. It is the enchantment that the Greeks called thauma, a word that characterized the inexpressible, the unheard of, a word that announced a place of wonders, fascination, charms, and also, for Father Gregorio di Nazianzo, the fulfillment of the Christian miracle. The mask is the most ancient and universal symbol of the conscience of human finitude (‘better not to be born’), for this reason it covers the perishable body of man with an ‘immortal’ cortex, as the golden funerary masks hid the face decaying of the dead; and it is also the first perfect realization of a ‘time machine’: slipping into a mask transcends the self, space and time. Among the infinite variety of forms, some of its many charms are collected here: from archaic cults and ancestral rites to the myths of classical culture, from epiphanies in European folklore to circus ghosts. The loss of aura in modern society forces the mask into unusual spaces and deep degeneration. However, its presence in many carnivals spared from tourist commodification and in the scenic practice more attentive to experimentation, in the footsteps of Craig, Mejerchold, Brecht, no less than in the ‘indignant’ squares or in the forests of insurgent Chiapas, makes the invocation still relevant. of Shakespearean Mercutio: “Give me a case to put my face in! One face on one face.”

Ferdinando Falossi – Prinp Editoria d'Arte

Ferdinando Falossi – Fernando Mastropasqua LA POESIA DELLA MASCHERA

Ferdinando Falossi – Fernando Mastropasqua L’INCANTO DELLA MASCHERA