Greek Theater Masks: Greek theater facts 

 Mask function

In large open-air theatres, like in the Theater of Dionysus in Athens, classical masks were capable of instilling a sense of fear in spectators causing widespread panic, especially since they greatly exaggerated facial features and expressions. They enabled an actor to appear and reappear in many different roles, thus preventing the audience from identifying the actor to a specific character. Their diversity helps viewers differentiate gender, age, and social status, in addition to revealing changes in the appearance of a particular character after Oedipus blinded himself. Unique masks were also created for specific characters and events in the play, such as The Fury in Aeschylus' Eumenides and Pantheus and Cadmus in Euripides' The Bache. The masks worn by the chorus, representing a multi-voiced individual or single organism, created a sense of unity and uniformity and encouraged interdependence and a heightened sensitivity between each individual in the group. Only 2-3 performers were allowed on stage at a time, and masks allowed a quick transition from one character to another. There were only male actors, but the masks allowed them to play female characters.

 Mask Description

Depictions of theatrical masks from the 5th century display helmet-like masks, covering the entire face and head, with eyeholes and a small aperture for the mouth, as well as an integrated wig. These images never show the actual masks on the cast in performance, the performers before often handle them or after the performance, which is the limited space between the audience and the stage, between myth and reality. Effectively, the mask replaced the actor as the memoir of the text. Therefore, performance in ancient Greece did not separate the mask actor from the dramatic character.

Mask makers were called skiopios or "makers of virtues", thus suggesting that their role included a number of duties and functions. Masks are made of lightweight, organic materials such as hard linen, leather, wood or cork, which contain human or animal hair. Because of the visual restrictions imposed by these masks, it was imperative that the artist listened to himself to orientate and balance. Thus, it is believed that the ears were covered by a substantial amount of hair, and not the helmet-mask itself. The mouth opening was relatively small; the mouth had to be seen during the performance. Vervain and Wiles theorize that this small size discouraged the idea that the mask functioned as a megaphone, as originally presented in the 1960s. The Greek mask-maker, Thanos Vovolis, suggests that the mask acts as a resonator for the head, thus enhancing vocal acoustics and changing its quality. This leads to an increase in energy and presence, leading to a more complete transformation of the actor into his character. 

More Details About Costume

The actors in these plays had tragic roles wearing shoes called cotharneys that elevate them above the other actors. Performers in comedic roles wore only a thin-soled shoe called a sock. For this reason, dramatic art is sometimes referred to as "sock and baskin". Melpomene is the muse of tragedy and is often depicted holding a tragic mask and wearing cothurni. Thalia is the muse of comedy and is likewise associated with the masquerade of comedy and comedic "socks".

Male actors playing female roles wear a wooden structure on their chest (posternada) to mimic the breasts and another structure on their abdomen (progestrade) to make them appear softer and more feminine. They wear white body socks under their garment so that their skin is better visible.

The most expensive details come from pottery drawings from that time as costumes and masks were made from disposable materials, so there are no vestiges of any costume from that time. The biggest source of information is the Pronomos Vase where the actors are featured in the show after the party.

Costuming will give away a sense of character, as will gender, age, social status, and class. For example, upper class characters would be dressed well, although everyone was dressed fairly well. Contrary to popular belief, they weren't simply worn in camouflage and sandals, because they wanted to impress. Some examples of Greek theater costume include long robes called chittis that reach to the floor for a cast of gods, heroes, and old men. Actors playing goddesses and goddesses, who had many powers, wore purple and gold. The actors playing Queens and Princesses wore long dresses that were drawn to the ground and decorated with gold stars and other ornaments, and warriors were dressed in various armor and helmets adorned with plumes. The apparel should be colorful and clear, easily seen by every seat in the audience.