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Prof. Michael Meschke a Member of the
Executive Committee of the Union International de la Marionnette; a
director and film maker; author of "In Search of Aesthetics for the
Puppet Theatre" talks to Dr.Gautam Chatterjee at a lunch break during
‘Mask’ Seminar at New Delhi.
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More Masks / Photo India
G.C.: Prof. Michael Meschke how do you
look at Mask as a pan-Universal symbol?
M.M: Its not to me a symbol --a truly
Universal instruments of communication meaning that mask by definition an
essence of human expressions and therefore accessible to all.Precisely
everyone understand the language of Mask world over. But mask is a silent
language!
G.C.: Mask has remained an integral part
of human expressions at the sacred level. Can you enlighten us about the
sacredness still alive amongst indigenous people of the world.
M.M.: I have not cultivated it
anthropologically this will be better expressed by an Anthropologist! I
can say that sacredness is an integrated heart of all human existence even
amongst athiest. We only don’t know the matter, we are to become more
conscious about it.
G.C.: How do you distinguish sacred Mask
ritual and Theatrical expressions of Modern days!
M.M. : I hope that distincion should not
be(made) nor necessarily, neither interesting. Even the most modern theatre
has its roots in sacred rituals I mean in ancient rituals it has its
roots. We should be more aware of this.
G.C.: Will you enlighten us about what
goes towards making a mask--as a reflection and as a vision of man’s inner
psyche.
M.M.: Most difficult and most beautiful
purpose to say the most possible with an absolute minimum(effort) example
is Japanise Masks.
To search for the poetry, or comical theme
are less interpreted. The purpose of the mask is to touch and twist your
heart with emotions like compassion, love, deeper joy. I am looking for the
poetical value in the mask. The less of execerations that the mask or
makers imposes on the spectator the more he stimulates this spectator to
activate his own imagination and capacity to cooperate creatively to
seeing and feeling emotions namely life whereas in reality there is no
life at all (in mask).
G.C.: The aesthetic theme of mask at
designer’s level differ widely but Nature and Natural power remains their
core sector for inspirations and imaginations. How do you look at it Prof.
Mischke?
M.M: The mask is an artificial product of
man’s skill and imagination and also the opposite to the nature. In
fact. Goethe said "art begins where nature stops". So you make a
mask natural then there is no purposes! There has to be difference and
that difference mostly is the work of stylization.
G.C.: Tell us something about traditional
mask-makers and material used thereof. Is there any direct reference with
their geographical settings? How do you look at the changes coming into the
material...I mean the influence of modern world?
M.M.: I hate the kind of cultural
imperialism exercised by the West to impose rationalization methods and
methodologies for example the wonderful Marionnette Company of Africa who
make wonder mask and the strings to those puppets are made of coconut
hamper.But under western influence they were changed into nylon strips.
The more genuine material you have from
your cultural and geographical setting the more you enrich global
heritage. The key to success is understanding and practising of the
differences as opposed to equalizing and standardization. More variations
are better.
In our country Sweden lot of refugees come
and merge into our culture loosing its own roots. Now we in Sweden make
young imigrants to create their own home puppet theatre which is better
than the western Donald Duck shows.
In the context of material pure cotton and
silks are being replaced by nylons and synthetics.... I do not say stick
to anything primitive everybody has to develop and accept modernity. The
variety of material used traditionally are better for cultural
enrichments. (Prof.Meschke meant that again the roots and cultural nuances
should not be deleted completely. Furthermore he gave a simily to
understand the world cultural scenario and voiced for protection of people’s
own rich cultural heritage).
In the modern context developed countries
are pumping money to the developing world and on the other hand ‘culturally
rich’ developing country are pumping ‘culture’ into the ‘culturally
poor’ developed world! (Here Prof. Mischke is driving home the idea of
maintaining one’s own roots and heritage against the western onslaught)
G.C.: Sir You are advisor to the IGNCA’s
ethnographic collection of masks!Will you elaborate your role to create this
unique collection?
M.M.: I merely tried to materialise very
deep and the holistic concept of Dr. Kapila Vatsayayan and to transform the
idea into exhibition was done by Dadi Padamjee.
I have also borrowed 20 odd greek puppets
which are shown in this Mask exhibition.
I am also permanant Consultant for the
National Stage Puppet which will be errected by IGNCA where different
puppets from all over India will be shown. And over the stage a slogan
will be written "Tradition is a continuous creation in the now".
This slogan was coined by Prof. S.C. Mallik, my friend here.
G.C.: Now in Modern days Mask makers are
again coming to the forefront is it cultural revivalism will you say
something from the standpoint of Sweden?
M.M.: To such an extent that ‘mask-poor’
country like Sweden recently installed a special professor Chair for Mask
and Puppets at the National Dramatic Institute for Training of artists!
Moreover, the country has sent three delegates to attend this Seminar
which shows the revivalism!
G.C.: What’s your message to the world
who sport the pseudo and cosmetic mask at the very behavioural level!
M.M.: Off WITH THE MASKS! Then the world
would be a better place to live in!
Dr Gautam Chatterjee
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