You’d think they’d be similar, right? But they’re worlds apart. All they have in common is the word ‘mask’!
The Full Mask
A full mask covers the whole face, stops speech and usually obscures the eyes, though some full masks you can see the eyes. This gives them a slightly creepy demeanour as you are aware of both transformation and the mechanics of it – you can see the actor. For me, a true full mask you can’t see the eyes. Therefore the transformation is total and must be maintained. The suspension of disbelief must be deep. So don’t let the mask get too close to the audience, or break the illusion with sounds etc. Full masks must work at their comfortable thinking speed, which is often slower than unmasked or half masks. Mixing the convention can sometimes make the full mask seem slow or dull-witted – or a child.
The Half Mask
A half mask covers the top half of the face allowing speech. The lip line is vital to a good half mask, so they’re often made for specific actors. Half masks are anarchic – you can see the transformation happening, but you’re also aware of the actor…but the actor is changed somehow. Half mask characters should not be held responsible for what comes out of their mouths – which can sometimes be a torrent of filth. Handle with care. Half masks are great for walkabout and street theatre as they can get close to an audience.
