Masque

Historically the term Masque refers to a short allegorical dramatic entertainment of the 16th and 17th centuries performed by masked actors.[1]

The term is related to the word masquerade, referring to a masquerade ball or bal masqué[2].

Masques performed in South Africa

Imported as a concept during the British colonial period and over the years ensuing, there have been a number of local productions referred to as masques.

Among them:

The Masque of the Silver Trees (Juta, 1909)

Other uses of the term

However, besides its use in the general meaning referred to above, the term has also been used metaphorically to refer to at least three specific matters in the South African context:

• A pseudonym used by a South African theatre critic writing in the journal Trek

• The Masque Theatre in Muizenberg (-)

• An African opera by Hans Huyssen, based on a libretto by Ilija Trojanow (2005).

Masque: The pseudonym (circa 1950)

Masque, pseud. 1950. "Shortcomings of the South African stage". Trek, 14(3):27-30.

The Masque theatre (1959-)

See the entry on the Masque Theatre on this website.

Masque: The opera (2005)

By Hans Huyssen, based on a libretto by Ilija Trojanow.

The original text

Commissioned by the National Arts Council and Pro Helvetia. Premiere: Cape Town, 28.10.2005. Masque combines classical, African and baroque ensembles in its scoring, coupled with a cast of European and African singers and masked dancers to portray arts in a multi-cultural setting.

The libretto is sung in English with some sections in Xhosa and even includes a Zulu praise song. The orchestra included a group of African instruments (the uhubu, the mbira and the akadinda amongst others), a contemporary orchestra and a baroque orchestra.

The theme of the opera (based on The Origin of Life and Death - African Creation Myths) revolves around four African masks (The Blind one, the Tired one, the Sad one and Death) placed in a museum that are viewed differently by Western and African people. These masks represent blindness, sleep, sorrow and death, balancing forces sent by God to cure man of his pride. To the Griot (a Mali storyteller) these masks have an emotional attachment and by touching them he brings them to life, thus dispelling the curse that made them lifeless.

Performance history in South Africa

2005: Presented by Cape Town Opera in the Artscape Theatre (28 October – 5 November), directed by Geoffrey Hyland. With baritone Fikile Mvinjelwa as the Griot, a traditional African storyteller, and a cast of 10 white and black singers, including Skhumbuzo Kunene, Arthur Swan, Sophie Harmse, and six dancers from Jazzart Dance Theatre, the 16-piece Cape Philharmonic Chamber Ensemble, a six-piece Early Music group from Innsbruck and the 11-piece Todi Ensemble.

Sources

https://www.britannica.com/art/masque

https://www.merriam-webster.com/dictionary/masque

https://en.wikipedia.org/wiki/Masque

Wayne Muller. 2018. A reception history of opera in Cape Town: Tracing the development of a distinctly South African operatic aesthetic (1985–2015). Unpublished PhD thesis.

Ivan Meredith. 2006. Opera in South Africa during the first democratic decade. Unpublished Masters thesis. University of Cape Town.

Hilde Roos. 2010. 'Opera Production in the Western Cape: Strategies in Search of Indigenisation'. Unpublished PhD thesis. Stellenbosch University.

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