Who is the White Mask?

Our rehearsals are a playground of discovery and new masks appear to us as untapped pools of possibility. One stunning mask that has opened up our explorations of Pedrolino and Tartaglia, is a pale, leather mask made by John. You may have seen it in our previous blog. Here John recounts how the mask came into being.

I made this mask at a theatre festival in Stourbridge in 2007. I had in mind a scenario I was writing at the time “The King of Shadows”  inspired by an idea that emerged from a workshop devised piece: returning war hero tests his wife’s fidelity. 

In my version he adopts a mask - the master becomes a servant, a zanni who from his position is able to watch and then make things happen...

I had been looking at the role of the comic servant in Commedia. In Flaminio Scala’s collection of scenarios from the 16th Century that fell to Pedrolino. He was featured more often than Arlecchino and was always at the centre of intrigues, such as lovers seeking help. In guiding Pantalone’s household through all kinds of mishaps he often took knocks from his masters and that could make him angry. Pedrolino would seek his revenge, in devious and comical ways.

I wanted the mask to represent a character like this, at the centre of things; knowing everyone’s business. Another came to mind... Tartaglia, a sad figure representing a notary, a servant of the law, with a history of melancholy and unrequited love… the noble servant who confides to his mistress that she has captured the heart of someone very close, but he is destined never to reveal himself…   

I tried to put into this mask something of that yearning - in animal terms a hound dog, faithful yet always losing out. He too has the trust of his masters, but also the possibility to manipulate the situation to his advantage.

Can a mask appear passive, but have hidden depths?

Look innocent, while plotting mischief?

We have been working with this mask and recently improvised some scenes with it. Mark thought the white colour effective - delicate and beautiful. Cheryl thought it suggested a high status Tartaglia. James struck upon a modern interpretation:  

“When moving as him, he felt like he wanted to be upright, almost like a valet or footman (think I was thinking of Disney cartoons!) ...in my head I was C3P0, from Star Wars. The eyes made me feel he was slightly put upon or never taken seriously; a civil servant in charge of finance or pot-holes!”

What do you think?