![]() ![]() The emotional heartbeats?.garnered in the form of edutainment, with no Bordeaux or Chianti needed. ![]() Under the array of the variations in shape and colors, one can find them anywhere printed, labeled or suggested to mark the idiosyncrasy of love, art, life or all of them together.įrom Mexico to Japan, Bali or America, cultures still use masks in their ritual and traditional manifestations, religious representations or festivals, to add a dramatic effect to the millenary cultural heritage. The laugh now, cry later masks have managed to remain an enchanting enticing present dichotomy.Īlthough pass? in today?s theaters, the symbols of these two masks have returned to render a personal touch, whether it is about live theater, a singular actor or just a passionate individual. ![]() So much for unrestrained feelings….when love needed morality.Īrt. The humbug notes, the anonymity and the licentious outrages led to the King of England banning the masks in the 16th century and proclaiming the wearing of them to be crime or a high misdemeanor. Maybe it is?still.Īs time went on, the modest theater turned into great spectacles of splendor in the sumptuous courts of Europe, which included masks in their notorious balls this time to hide identities and not to show emotional traits. Wine must have been the best sinew of love to imbue hearts with in the emotional crusade. Back then the celebrations in honor of Dionysius, the god of wine and revelry, were the peak of all events and the two masks referred to the effects of joy and despair that wine would induce on people. Actors would use them to emphasize the change of emotions, to project the echo of their voices and also to suggest the change of characters, in a time when artistic expressions and claptrap features were reduced to essential means. Thus, joy and sorrow were the emotions of the human condition and the Greek theater would use two masks, made of clay or wood, to best depict these traits: the laughter and the cry. Yet, where was the wisdom, again?īack in time before Christianity, when love had the same heartbeats, but different emotional mists, the Greeks would bestow their talents, endowments and the expression thereof on two muses, Melpomene and Thalia, the comic and the tragic shapes of art. It is about a message as old as humanity in the guise of ?masks and the dilemmatic attitudes derived thereof, to guess and to accept with their oxymoronic tendencies: from a remote time to the present day, this message has made its way to the ascertainment of future.Īmazing how just a few words can shape a life, a public or a society, under the cloak of wisdom, as if it were a life-secret aphorism. Neither is it about the inevitable, always implied yin-yang philosophy of the dark-and-light balance of all world creatures and their exchange of energies encompassed by the universe. This is not about a tattoo to be exposed in a delicate or extravagant place, the first match that would appear if you enter this phrase in your search engine. ![]()
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