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  • How did ancient Greek actors use masks in their performances?
    They wore masks with exaggerated expressions to show emotions like fear, anger, or sadness.
  • How did actors in Commedia dell’Arte create their performances?
    They improvised their lines instead of using a script.
  • Why have masks been used in theatre for centuries?
    Masks help the audience focus on the action and emotions of the characters rather than the performers.
  • Who performed in Italian Commedia dell’Arte?
    Traveling comedy troupes of actors and actresses.
  • What types of characters were portrayed using masks in Japanese Noh theatre?
    Masks were used for female roles and non-human characters like animals and monsters.
  • How did Japanese Noh actors show emotions while wearing neutral masks?
    They tilted their heads up or down in the stage lights to create expressions of fear or sadness.
  • What was unique about Italian Commedia dell’Arte theatre?
    It had no scripts, and actors improvised their lines.
  • How did Commedia dell’Arte masks help create comedy?
    The masks had bold features like bushy eyebrows and long noses, which, along with exaggerated movements, made the performances funny.
  • Why did Greek actors need to change masks during a play?
    Only men were allowed to act, so they used different masks to play both male and female roles.
  • What emotions could a Noh actor show by tilting their head?
    They could show fear or sadness.
  • What types of theatre used masks, according to the text?
    Ancient Greek theatre, Italian Commedia dell’Arte, and Japanese Noh theatre.
  • What was unique about the way Japanese Noh actors used masks?
    They had to move their heads at different angles to show emotions instead of using facial expressions.
  • Why were Noh masks designed with a neutral expression?
    So that emotions could be shown through movement and lighting effects.
  • Why were only men allowed to act in ancient Greek theatre?
    At that time, women were not allowed to perform on stage.
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