Music, Blues And Ragtime - 1337 Words

â€Å"Jazz is the first true art form to come from the soil of America†, Winton Marsalis made this claim in the film Jazz by Ken Burns. Jazz would be born here in America after the fall of slavery. The interactions between previously enslaved peoples and the rest of society gave the breeding ground for a mixture of cultures and music styles. The city which was most clearly known for the mixing of cultures after the Civil war was New Orleans. In New Orleans the primary cultures and ethnicities seen included: Caucasians, Africans, Caribbean people, and Creoles, i.e. multiracial Africans. Within the mixing of cultures came the mixing of music styles as well. Two of the styles of music which added to the development and birth of jazz were the blues and ragtime. I argue that Jazz as a genre was a coalition between two popular forms of music, blues and ragtime. These two genres created jazz together through their origins, musical characteristics, and large number of performers. Ragtime’s origins can be seen as a major reason towards its development of jazz. Ragtime is an art form which came from, â€Å"African spirituals, minstrel songs and marches† (Jazz film). The African Spirituals were songs of the former slaves created to sing during religious ceremonies and sometimes as work songs (History). The minstrel songs were a popular form of entertainment by which white actors would dress up in black-face and demean the African people, yet this popular form of entertainment brought many songsShow MoreRelatedThe Ragtime And The Blues1184 Words   |  5 PagesBoth ragtime and the blues were essential and influential in their contributions to the development of jazz. Together, they served as the primary predecessors to the later, more complicated genre. Key elements from each brand are incorporated and mixed to create jazz. Without the creative geniuses of ragtime such as Scott Jopin and James Reese Europe and Blues propagators W.C. Hady and Robert Johnson, the distinctive genre of jazz would not have emerged. Ragtime and blues are both unique in theirRead MoreEssay on Ragtime and Blues Influence on Jazz1377 Words   |  6 PagesAra Cho Ethno 50A 803-672-412 October 14, 2011 Seeing Ragtime and Blues as Parents of Jazz Jazz is a music genre that has complex characteristics and history of development and thus many musicians and scholars face troubles in defining what jazz is. In general, jazz is believed to have born in New Orleans. Jazz developed for the pleasure of the social dancers. According to the â€Å"Understanding Jazz: What Is Jazz?† of John F. Kennedy center for the Performing Arts, Jazz was created mainlyRead MoreThe City Of New Orleans1471 Words   |  6 Pages In the city of New Orleans emerged one of the most influential music genres in the history of the United States of America. At the time, New Orleans was known for being a blending pot of people or rather, a location where people from all over the world came together in one place. This city served as a key seaport in the U.S. allowing for goods to be imported and exported. The purpose of this city was not only strategic to the growth of the country, but also allowed for the incredible mixing ofRead MoreThe Ragtime Vs. Th e Blues1616 Words   |  7 Pages ¬Ragtime vs. The Blues In the city of New Orleans emerged one of the most influential music genres in U.S. history. At the time, New Orleans was known for being a melting pot of people or rather, a region where people from all over the world came together in one place. This city served as a key seaport in the U.S. allowing for goods to be imported and exported. The purpose of this city was not only strategic to the growth of the country, but also, the atmosphere allowed for the incredible mixingRead More Ragtime Essay examples850 Words   |  4 Pages Ragtime was a very influential part of the development of jazz. Ragtime became very popular in the late 1800’s. Ragtime’s distinct style set it apart from the other genres. Syncopation is what defines this art form. This is when the loud accents fall in between the beats. Anything that is syncopated is basically ragtime. One of the most important ragtime composers was Scott Joplin. Like all great artists, Joplin did not restrict himself to this favored art form. Both before the advent of ragtimeRead MoreRagtime And Blues : The History And Their Influence On Jazz1581 Words   |  7 PagesRagtime and Blues: The History and Their Influence on Jazz In the city of New Orleans, from parades to clubs and from weddings to funerals, one element usually remained constant throughout all these events: the music that permeated the air. At most of these occasions, a band often performed as entertainment, providing many opportunities for musicians in the area to work. By the early 20th century, due to various factors such as mix of ethnicities and cultures with syncopated musical styles influencedRead MoreAnalysis Of Scott Joplin s Maple Leaf Rag 858 Words   |  4 Pageswas a composer and pianist of ragtime who was born in the late 1860s near the border of Texas. He learned to play the piano as a young adult and started to travel with his amazing talent while he was young. He is known as the king of ragtime during his generation. He is famous for writing 44 ragtime pieces during his lifetime. He wrote one ballet and two operas as well, and one of his pieces called â€Å"Maple Leaf Rag†, eventually was one of the most well-k nown ragtime pieces of the time. Joplin movedRead MoreHistory and Legacy of Jazz Music Essay1001 Words   |  5 Pagesfrom gospel hymns, blues, and ragtime, yet was completely different in its own way. The sound, with its new techniques that gave it a raw uniqueness, was able to capture Americas curiousness, and make many fall head over heels for the new infectious sound. It drew in people from any age, race, and social status. This new genre was called jazz, and it became so popular that an era was named after it. Jazz is a blend of African American spiritual folk songs and faster upbeat Ragtime that uses a varietyRead MoreEssay on History of African American Music1267 Words   |  6 PagesYasmin Gonzalez Mrs. Herrera Junior English 1 March 2012 History of African American Music â€Å"In less than a minute, the death wail went up out of every cabin in the Quarters, and Brother Ezekial began the death chant: Soon one morning, Death come knocking at my door†¦. Oh, my lord, What shall I do† (Walker 17)? Death was common for slaves. They routinely died from disease, beatings and accidents on the plantation, and they expressed their sorrow in the form of song. â€Å"I see death around the cornerRead MoreThe Music Of Jazz Music1353 Words   |  6 PagesTo define jazz music, one must scroll through the lexicon of words associated with the sound of jazz to come up with a description of the art form. Words such as smooth, cool, nice, swinging, and jazzy describe the art form. However, because of the vague definition of its sound, there is no one true definition of the art form. Jazz is an art form that cannot be restrained. Jazz is like watching Michael Jordan go up for an ordinary slam dunk, but in midair, he changes his mind to do something completely

Broken Spears Free Essays

The Broken Spears â€Å"The Broken Spears† is a collection of many accounts of the destruction of Mexico by Cortes and the conquistadors in their invasion. The motive behind this conquest was Cortes’ desire to bring a fortune of gold, spices, and land that can be claimed, back to Spain. Although these desires were admirable, they were sought after at the expense of the Aztecs and consequently changed an entire civilization, due to an initial drive for power, control, land, and money. We will write a custom essay sample on Broken Spears or any similar topic only for you Order Now Cortez along with the Spaniards ultimately destroys the Aztecs in their quest for fortune and fame. The accounts are based on the Aztec’s perception of the invasion and include the revolt of the Aztec people that lead to the terror and the end of the Aztec civilization. The Spaniards first entrance into Tenochtitlan The novel begins with the description of a series of omens or premonitions, observed ten years prior, that was believed to be essential warnings of the coming invasion. The omens arouse many fearful and terrifying reactions. At the time, the meanings were unclear to the Natives. According to the text, â€Å"Montezuma consulted various seers and magicians to learn whether the omens meant an approaching war or some other crisis†, however the magicians could not advise him. Not soon after, according to the second chapter, there were reports that â€Å"the mountains bore a strange people who have very light skin. They all have long beards, and their hair comes only to their ears. † After much contemplation, Montezuma sent five messengers to greet the strangers and to bring them gifts believing that they might be Quetzalcoatl (God of learning and the wind) and other divinities returning to Mexico as they promised. 2:13)Montezuma gave specific instructions as to how to present the messengers and gifts to the strangers. The natives showed reverence to the strangers at their arrival by â€Å"touching the ground before him with their lips†. (25) However, Cortez in return gave orders to chain them by their necks and feet. When the messengers retur n, they inform Montezuma of the various firearms, animals, foods, and resources the Spaniard possessed, and he was astonished and terrified by their report. Montezuma’s attempts to keep the Spaniard away from the Tenochtitlan included everything from sending out magicians and warlocks hoping that they could harm the Spaniards with their magic, to sending out captives to be sacrificed in their presence. With each failed attempt to prevent the Spaniards from entering Tenochtitlan, came the rising fears of the â€Å"inevitable†. As the Spaniard began to inquire about Montezuma, he contemplated fleeing and escaping the â€Å"gods†. Due to Montezuma’s failed attempts, Cortez and the Spaniards decided to begin marching In-land, in their arrival to Tlaxcala and Cholula. One could argue that the invasion of these cities was due to the defiance and the fact that they would not surrender to Cortez’s control. During the march Cortez gained a larger army and allies. Once Cortez and the Spaniards reached the entrance of Tenochtitlan their march was complete. Montezuma then prepared to greet Cortez. According to the text, â€Å"He presented many gifts to the Captain and his commanders, those who had come to make war. He showered gifts upon them and hung flowers around their necks; he gave them necklaces of flowers and bands of flowers to adorn their breasts; he set garlands of flowers upon their heads. Then he hung the gold necklaces around their necks and gave them presents of every sort as gifts of welcome. † Not mentioned in the Broken Spears however, according to the Diaz document, Cortez offered Montezuma his right hand but Montezuma refused it. It also states that Cortez went to place fine a necklace on Montezuma’s neck, but his nephews stopped and refused him. The Spaniards seemed to portray a non confrontational notion, as if they arrived with pure intentions. The document’s perspective seems to contradict those of The Broken Spears. The document describes the Aztec’s conversion to Christianity as a peaceful one. It also states that Montezuma pronounces that â€Å"I am in debt and will give all I poses,† revealing that Montezuma willingly gave of his possessions and land. However, according to The Broken Spears, the Aztecs were tortured and terrorized. The Expulsion from Tenochtitlan (Spring 1520) After imprisoning Montezuma, the Spaniards begin to terrorize the city, causing commotion and inflicting fear into the natives. The terrorism that was taking place caused an uprising battles and massacres to take place. One example of the harshness inflicted on the Aztecs was the events that took place at a Fiesta. The Spaniard invaded the Fiesta, murdering many Aztecs and revealing the Spaniards did not abide by the Aztec rules or expectations of war. They were said to be reckless and extremely brutal, without respect or compassion. Preceding the surprise attack at the Fiesta, other attacks and retaliations arouse, such as the Night of Sorrow. The Aztecs no longer desired to follow Montezuma’s initial orders for non retaliation. They decided to take up arms and fight against the Spanish. In the attack at the Fiesta, they fought with broken spears and attacked with javelins and arrows. However the Aztecs came to the realization that enough blood was shed. Montezuma’s body was discovered and it was unclear as to his cause of death. Since the Aztec no longer catered to the Spaniards by providing them with food, shelter and supplies, Cortez realizes that they must leave the land. They planned to retreat at night, however the retreat was discovered. According to the text, â€Å"They attacked as the Spaniards were fleeing down the Tlacopan (now Tacuba) causeway, and the rout was so disastrous that it has been known ever since as â€Å"la noche triste,† the Night of Sorrows. Those who escaped the disaster found refuge in the nearby village of Teocalhueyacan, where they were welcomed as friends; but three-fourths of the army had perished in the retreat and in the siege that preceded it. The Aztecs benefited greatly from the fleeing of Spaniards. They gathered things that the Spaniard abandoned and claimed it for themselves. They collected weapons that had been left behind or had fallen into the canal-the cannons, swords, spears, bows and arrows-along with all the steel helmets, coats of mail and breast- plates, and the shields of metal, wood and hide. They recovered the gold ingots, the gold disks, the tubes of gold dust and the collars with their gold pe ndants. The violent recapture of Tenochtitlan (1521) The Aztecs were convinced that the Spaniard would never return. They began to rebuild the city and the temples, and celebrated in a victorious manner. They choose a new King for the city; however it was not long that the Aztecs lived in tranquility. A horrible plague of smallpox quickly spread. The plague spread during the thirteenth month and lasted for seventy days, striking everywhere in the city. It was difficult for some to walk or even move. Many died from the disease, some died of hunger because they were incapable of searching for food. The text describes that the first cases were reported in Cuatlan. By the time the danger was recognized, the plague was so well established that nothing could halt it, and eventually it spread all the way to Chalco. Then its cruelty diminished considerably, though there were isolated cases for many months after. The Spaniards returned without mercy. This time however they had more forces, and resources, and better technology. Although the Aztecs had a previous disposition, they retaliated, being aware this time, of some of the Spaniards tactics. For example, discovered that the shots from the cannons always flew in a straight line, they no longer ran away in the line of fire. They ran to the right or left or in zigzags, not in front of the guns. After a great deal of battles and much bloodshed. The Aztecs eventually surrendered to the Spaniards. The Aztecs culture and civilization was eventually eradicated after the Spaniard burned the temples and destroyed their empires. In comparing the readings of The Broken Spears to some document excerpts, a large disparity is found. There were many actions that the Aztec’s took, that to some were considered barbaric. For instance, in The Conquest of New Spain, Diaz describes the Aztecs to be somewhat savage like. He mentioned that they would â€Å"tear out the palpitation heart, with the blood, they present as idols† and they would eat â€Å"arms and thighs at their ceremonial banquets†. However, The Broken Spears describes these actions as sacred sacrifices that were signs of respect and honor. These reasons alone prove why separate accounts help understand history. There is a saying that states: â€Å"There are two sides to every story. † The Broken Spears would be considered the other side How to cite Broken Spears, Papers

Mask in society Essay Example For Students

Mask in society Essay Masks have served humankind for centuries as artistic instruments, educational tools and have often reflected and magnified human nature while revealing the inner desires and fears of the human heart. However, as we stand in the 90s we have little or no need for masks. Theatre has developed and moved swiftly, parents and schools educate children and humankind no longer feels the need to see their true feelings interpreted and portrayed by performers. Masks and mask work must take their place in the relics cupboard as quaint antiquities. They simply cannot withstand the break neck speed of the 90s- they have lost their appeal and relevancy.As society dives headfirst into the 21st century one cannot deny that there are a number of apparently frivolous concepts which are being sacrificed in the name of technology. Peripheral ideals and out-dated innovations such as LPs, tie dying and the ozone layer are being rightfully pushed aside as the world makes ready for bigger and better things. But the question arises, should masks be included within this list of irrelevant notions? To fully comprehend and reply to this one must have a detailed knowledge of mask throughout history, its educational, theatrical and entertainment value, and most importantly, its current appeal and relevancy in the eyes of todays society. To completely understand and appreciate the entirety of mask and the impact it has made one must first know something of its origins and history. It is not surprising that the birth of mask is most apparent in the same country that is credited with the parentage of drama itself, Greece. Ancient Greek theatre is most renown for its Tragedy and Comedy, including works such as Oedipus Rex and The Wasps. Playwrights such as Sophocles, Euripides and Aristophanes were capable of enthralling their audiences and moving them to strong emotions- apprehension, compassion, sorrow and joy (EXTENDED STUDY: MASK). But it was their use of mask that warranted them their success. There are two main components within Greek theatrical mask work, that is the actors and the chorus. The Actors would wear masks to define the general category of person to be portrayed. The mask would also be shaped into an emotional position thus revealing the outcome of the play from the beginning. The mask could also be tilted up or down giving different shades of the one mood. The chorus, however, was the backbone of all Greek theatre. Their demeanor and integrity was the product of a visually unified entity through mask. The combination of these effects led to a dramatically enhanced performance. Overal l it is obvious that mask was a crucial element to the development of Greek society. For centuries Mask has also been used in tribal traditions. Initiation, celebration, marriage, birth, history and death are all examples where the mysterious qualities of mask have shaped and shifted civilisation. Masks appear in the context of periodic celebrations connected with the ancestors, with the mythical or historical origins of the people, with the critical moments in communal work, or with the events of group-life such as initiation and death. (EXTENDED STUDY: MASK) In a variety of primitive ceremonies mask is used to invoke a spirit (EXTENDED STUDY: MASK) where the mask wearer will become the entity, not just a representative of it. This form of mask work revolves around a transformation event. Masks extend the concept of possession and performers believe themselves possessed as the mask takes over their identity. (EXTENDED STUDY: MASK) Mask itself was the central point within the development of these tribal civilisations; it represented the maturation and succession of t he individual and was a crucial component to their daily life. .u6a3bccdeb787ee3fb0f23d2e16080a7c , .u6a3bccdeb787ee3fb0f23d2e16080a7c .postImageUrl , .u6a3bccdeb787ee3fb0f23d2e16080a7c .centered-text-area { min-height: 80px; position: relative; } .u6a3bccdeb787ee3fb0f23d2e16080a7c , .u6a3bccdeb787ee3fb0f23d2e16080a7c:hover , .u6a3bccdeb787ee3fb0f23d2e16080a7c:visited , .u6a3bccdeb787ee3fb0f23d2e16080a7c:active { border:0!important; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .clearfix:after { content: ""; display: table; clear: both; } .u6a3bccdeb787ee3fb0f23d2e16080a7c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6a3bccdeb787ee3fb0f23d2e16080a7c:active , .u6a3bccdeb787ee3fb0f23d2e16080a7c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .centered-text-area { width: 100%; position: relative ; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6a3bccdeb787ee3fb0f23d2e16080a7c:hover .ctaButton { background-color: #34495E!important; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6a3bccdeb787ee3fb0f23d2e16080a7c .u6a3bccdeb787ee3fb0f23d2e16080a7c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6a3bccdeb787ee3fb0f23d2e16080a7c:after { content: ""; display: block; clear: both; } READ: Impact of Child Abuse EssayDuring the 16th Century Mask unveiled a previously unseen and unprecedented facet of its ever-expanding territory. It was known as Commedia dellArte. In certain fiestas the very notion of order disappears. Chaos comes back and licence rules. Anything is permitted Respectable people put away the dignified expressions and conservative clothes that isolate them, dress up in gaudy colours, hide behind a mask, and escape from themselves. (COMMEDIA DELLARTE: AN ACTORS HANDBOOK) The Commedia era was undoubtedly the largest impact that a single mask genre has ever made, for it was the first time that mask had been used in a situation that didnt revolve a round a ceremony, god or religious aspect. The Commedia Masks of 16th Century society were instantly recognisable to the people of that time; such was the popularity and familiarity of Commedia. In that, the common people were aware and involved with the masks, so they were able to relate towards them. An example is the wart or boil commonly found upon Arlecchinos face, it is representative of the poor people and their inadequate survival conditions. Masks will often stereotype the bearers through the use of symbol, colour, size and decoration. This is where the main aspect of comedy was most apparent in Commedia. Il Capitano, for example, is often portrayed with a very large nose, which is in fact, a phallic symbol. The colour scheme, consisting of half black and half white immediately relates to the audience the two sides of Capitanos personality. The first being an apparently strong minded, brave individual, and the other, more truthful one, is representative of his fear and anxi ety. Evidently the power and value of the mask is what has sustained the Commedia art form till today. Its undying worth and importance from the past is another example of the endurance and impact of mask throughout history. Mask in todays society is currently struggling for its rightful recognition. Few, if any contemporary dramatists have explored the possibilities and powers of mask as a central commodity on stage. Playwrights such as Bertolt Brecht and Eugene ONeill have incorporated mask as an alienating device in some of their plays, most notably, The Good Woman of Setzuan (1941) and The Great God Brown (1926), but is this meager mentioning by long dead playwrights sufficient to preserve the magnanimous art form known as Mask? The answer lies within the shrouded artistic circles of modern dramatists. To these people mask will never lose its appeal and relevancy. Although it unlikely that mask will never captivate the entire public over three centuries again, (not unlike Commedia) but the educational, entertainment and shock value of it will continue to be the primary tools at the disposal of actors, directors and other artists. It is evident that the preservation of Mask is not only a worth while c ause but also an essential one. That the consequences of a maskless society which is unable to interpret and translate its own inner feelings of happiness, despair, courage and fear are too great. The question therefore is not what can mask offer society as it enters the 21st century, but what would a 21st century without mask, offer society? The basic power of mask is that of a mechanism for ordering the world, a capacity at once to transform and yet to fix identity. From such an ambiguous process masks derive the historical endurance to withstand the shift of their symbolic references and to come through to the present day in still recognisable form. (MASKS: THE ART OF EXPRESSION)Ultimately, masks are a crucial part to past, present and future society. Although they are not represented or respected as much as they deserve to be within our modern day civilisation, they are however still as profound and mysterious within the different cultural, educational, historical and theatrical instances as ever. It can be safely guaranteed that within its own artistic circle, Mask will never die. .u8752b12e22ad4273209a8e10994937dd , .u8752b12e22ad4273209a8e10994937dd .postImageUrl , .u8752b12e22ad4273209a8e10994937dd .centered-text-area { min-height: 80px; position: relative; } .u8752b12e22ad4273209a8e10994937dd , .u8752b12e22ad4273209a8e10994937dd:hover , .u8752b12e22ad4273209a8e10994937dd:visited , .u8752b12e22ad4273209a8e10994937dd:active { border:0!important; } .u8752b12e22ad4273209a8e10994937dd .clearfix:after { content: ""; display: table; clear: both; } .u8752b12e22ad4273209a8e10994937dd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8752b12e22ad4273209a8e10994937dd:active , .u8752b12e22ad4273209a8e10994937dd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8752b12e22ad4273209a8e10994937dd .centered-text-area { width: 100%; position: relative ; } .u8752b12e22ad4273209a8e10994937dd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8752b12e22ad4273209a8e10994937dd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8752b12e22ad4273209a8e10994937dd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8752b12e22ad4273209a8e10994937dd:hover .ctaButton { background-color: #34495E!important; } .u8752b12e22ad4273209a8e10994937dd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8752b12e22ad4273209a8e10994937dd .u8752b12e22ad4273209a8e10994937dd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8752b12e22ad4273209a8e10994937dd:after { content: ""; display: block; clear: both; } READ: Lucky's Monologue in Waiting for Godot EssayThe mask is a terrible, mysterious instrument. It has always given me and continues to give me a feeling of fear. With the mask we are on the threshold of a theatrical mystery whose demons reappear with static, immutable faces, which are at the very roots of theatre.Bibliography:John Rudlin, Commedia dellArte: An actors HandbookBertolt Brecht, Assorted playsMasks: The art of expression