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A Spot of Mask Theory: Or, Ramblings on Desires
12 years ago
Masks used to be more inspirational for me, and still can be, but I am rather choosy about them and always have been. I've passed by umpteen masks with little character or inspiration residing within, mere discount store cheapies for the Halloween dullard. I've also passed by many that were expensive collector's items, seemingly only of interest to the makers themselves and a select few acolytes who were entranced by those rigid fixed looks. The ones I've liked the most had a particular look that appealed to me, or were readily customizable and malleable. They actually inspired me and transformed into real characters in my mind, beckoning the wearer to merge and channel those energies. It is indeed symbiotic at its best, one cannot achieve the best result without both elements in place, the mask and the masker.
Lately I rarely even wear my masks. I just have to imagine wearing one, or another person wearing it, and those characters interact in a variety of ways. I imagine the ideal partner or partners in crime who would play in mask with me and bring all the characters to life in their own unique ways. I have been heavily into imagining duos or trios of similar proportions donning costumes and masks to perform, then switching identities with the others so that the characters are always alive and don't become fixed or dry. Each actor would have their own particular read on the character, and bring it to life in their own way. If staged for an audience, there would always be that tension and thrill of wondering how the character would act on a particular night. It would keep the action fresh and exciting. The onus is all on the actors, who have to be comfortable in a variety of skins, and be prepared to assume a new shape at a moment's notice. But these are the sort of performers I would want to act with, those with no egos or some shoddy need to "be themselves" all the time. Surrender of self is paramount, and I've done that with most of my roleplays.
Those that don't go that way wind up being dull, listless, or I wind up merely facilitating the other person's fantasy, which is fine but not overly satisfying. The one play I had that tried (and failed miserably) to capture that essence of the mask, was with another partner who invested nothing of himself or what was left of himself into those masks. It was just an endless parade of putting a mask on, taking it off, trying the next mask, without rhyme or reason behind it. No flow at all, no transformation. In that situation, even though I was ok with what I wore myself, I felt no connection at all, and just went through the motions.
What's been fascinating is that I would do this with male or female or trans partners, and keep it all very fluid and transformative. I wouldn't be "stuck" being a particular orientation. I would be delighted to play with others in this fashion, which if done as a 'naked' human right at the get go would be tough for me. That said, imagining the partners concluding their performances by unmasking simultaneously to reveal their true inner selves to the viewers is a big turn on. And often it is some animal or inhuman creature revealing their true selves, either to shock and horrify their victim (bleh bleh bleh) or to allow their partner to understand who they truly are. Mask of deceit, mask of truth, which is which?
This journal was brought about by a discussion with
lone.companion, and has been edited and refined from my original thoughts. Thank you for reading.
Lately I rarely even wear my masks. I just have to imagine wearing one, or another person wearing it, and those characters interact in a variety of ways. I imagine the ideal partner or partners in crime who would play in mask with me and bring all the characters to life in their own unique ways. I have been heavily into imagining duos or trios of similar proportions donning costumes and masks to perform, then switching identities with the others so that the characters are always alive and don't become fixed or dry. Each actor would have their own particular read on the character, and bring it to life in their own way. If staged for an audience, there would always be that tension and thrill of wondering how the character would act on a particular night. It would keep the action fresh and exciting. The onus is all on the actors, who have to be comfortable in a variety of skins, and be prepared to assume a new shape at a moment's notice. But these are the sort of performers I would want to act with, those with no egos or some shoddy need to "be themselves" all the time. Surrender of self is paramount, and I've done that with most of my roleplays.
Those that don't go that way wind up being dull, listless, or I wind up merely facilitating the other person's fantasy, which is fine but not overly satisfying. The one play I had that tried (and failed miserably) to capture that essence of the mask, was with another partner who invested nothing of himself or what was left of himself into those masks. It was just an endless parade of putting a mask on, taking it off, trying the next mask, without rhyme or reason behind it. No flow at all, no transformation. In that situation, even though I was ok with what I wore myself, I felt no connection at all, and just went through the motions.
What's been fascinating is that I would do this with male or female or trans partners, and keep it all very fluid and transformative. I wouldn't be "stuck" being a particular orientation. I would be delighted to play with others in this fashion, which if done as a 'naked' human right at the get go would be tough for me. That said, imagining the partners concluding their performances by unmasking simultaneously to reveal their true inner selves to the viewers is a big turn on. And often it is some animal or inhuman creature revealing their true selves, either to shock and horrify their victim (bleh bleh bleh) or to allow their partner to understand who they truly are. Mask of deceit, mask of truth, which is which?
This journal was brought about by a discussion with
lone.companion, and has been edited and refined from my original thoughts. Thank you for reading.
Having a mask take over completely and then not release the wearer is of some interest, though I haven't really explored forced masking much. It's enough trouble finding a willing victim, I mean partner! (Dead giveaway)
"That glow in the dark skull mask I bought while you were here. I propped it up next to my bed, where it's got that black sheet-curtain behind it in the window. At night, I can stare at it while going to sleep and it is comforting in a way that I figure only someone who is attracted to Death or Fear can understand [and probably disconcerting to most]. Anyway, the mask seems to be becoming a character at this point. So, it dawned on me how a mask can be a character. A character that can /either/ be an other being, or your /self,/ depending if you are wearing it or if it is just sitting somewhere in the room. Or, now I realize, if /someone else/ is wearing it. I tend to use just Ideas (mental characters, written or only thought about) to represent the characters I like. Almost all my play with them happens in my mind, alone. I recently started using toys/action figures for this again. So I realized, masks are similar to using toys. Two types of physical tools to help bring about the connection to the character (which is a process completed in the Imagination, no matter what method/set of tools you use to bring it about.). The mask thing is suddenly very interesting though -- especially the idea of it being a character in and of itself, that can either exist by itself, on someone else, or on ME. Basically I felt it good to share this info with you and to ask if that is related to why masks are appealing to you. I know we have talked about why they are appealing, but until I have breakthroughs in understanding, on my end, such as this -- much of what you said could not have been understood."