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Identify some of the similarities and differences between masks in Indian genres of performance and those used in ancient Greece and Rome.

(YOU NEED TO SITE YOUR SOURCES)

In both cultures, masked performances are usually retellings of traditional stories WITH WHICH *oops!* the audiences are all ready (ALREADY? - sorry! [] ) familiar. A large difference between masks of Greek/Roman performances and those in India is that we have much more information on those masks of Indian tradition because their use has been greatly preserved and is still practiced today.

For example, in Nangyar and Koothu performances, highly stylized facial performance art forms of South Indian tradition, in-depth training begins early on (ten years of age) and is open to women and men (*new* Richmond Lecture, January). In Greek and Roman tradition, the study of mask work was still focused, but require much less training. (HOW DO YOU KOW ABOUT THE TRAINING PRACTICES IN GREECE AND ROME?) The only evidence of mask contemplation by men that exists are those images depicted on vases from that age (*new* Richmond Lecture, January). Only men were allowed to participate in these art forms.

Most masks of India, Bali, Indonesia, anD *whoops!* Japan are made up of different materials which vary from plaster to cloth to clay to plaster. Greek and Roman masks were believed to almost always be crafted of wood and worn like a helmet (*new* Richmond Lecture, January). Because of audience sizes and important one-time performances, Greek and Roman masks were almost always open-mouthed (and possibly served as megaphones). Asian masks serve many different purposes and are not always open-mouthed. For example, in the Korean masked dance drama, masks only have holes to allow sight and breathing. (I APPRECIATE YOUR DRAWING IN THE KOREAN MASKS BUT THAT WASN'T IN THE QUESTION - *oops!*)

In general, masks in all societies serve to transform a human in to another person or another being in order to help tell a story. The immobility of a mask helps audiences suspend disbelief, especially when actors adapt their face, voice, and movements to the mask.

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