BEHIND THE MASKS : THE DARK DRAMA OF VENICE CARNIVAL

Cristina, MOCANU Alexandra, POPESCU Academia Naional de Informaii " Mihai Viteazul ", Bucureti andra.popescu2805@yahoo.com Coordonator tiinific : prof. Brndua EICAN
ABSTRACT The Venice Carnival history and its origins is a subject that fascinates many people: to know when and how the extraordinary Carnival in Venice started, the evolution in the use of masks and period costumes, curious anecdotes or historical events that have marked the way ... it is a fascinating journey in the ancient celebration of the Venetian Carnival, between history and traditions. This project tries to give an insight into the mistery of the Venice Carnival and present the symbol of different masks. Keywords : Venice Carnival, masks, drama, mistery, culture. Introduction Considered one of the most important events in Veneto, Carnival has found in Venice the perfect location to fully express its spirit dedicated to playing and breaking down social barriers. Venice attracts tourists from all over the world and every year the Carnival in Venice transforms the city into a cocktail of parties and fun with its distinctive appointments of entertainment, gastronomy and music. The Venice Carnival origins are to be found in two ancient traditions: the Latin Saturnalia and the Greek Dionysian cults - major religious festivals involving the use of masks and symbolic representations. The Venice Carnival history and meanings take their cue from these traditions, recasting them for their own purposes: in the Saturnalia of ancient Rome the social order was overturned and slaves and free citizens poured into the city to celebrate with music and wild dancing; in the Greek Dionysia processions and plays were intended to unite the human being with nature in a superior harmony, free of social conventions established by man. Venice has reinterpreted the ancient Greek and Roman festivals to meet the needs of the Venetian Republic, which promoted the Carnival to give to the people, especially the lower classes, a time for fun and parties. The Venetian Carnival masks guaranteed total anonymity, a sort of levelling of the social divisions that sometimes allowed citizens to even make a public mockery of authority and aristocracy. These generous licenses represented an outlet for tensions and ill-feeling that was created in society because of the strict limits imposed by morality and the public order of the Republic of Venice. The origin of the word Carnival is traced to a document of the Doge Vitale Falier of 1094, where it was used for the first time talking about public amusements. The Carnival in Venice history as an official public holiday, however, began only in 1296, when a decree of the Senate declared a public holiday the day before the beginning of Lent. The Venice Carnival characters included jugglers, acrobats, musicians and dancers. They organized all kinds of events, including performances and exhibitions absorbing so much attention that Venetians business and production activities became less important. For many centuries, the celebration of the Carnival in Venice would last six weeks, from December 26 to Ash

Wednesday, bringing joy and fun to the main areas of the city such as the Riva degli Schiavoni and St Marks Square. Sometimes the celebration of the Carnival in Venice, between parties, pranks and shows began during the first days of October. Soon a close relationship started between theatre and carnival: in fact, as well as large outdoor parties, small performances and shows of various kinds were organized in private homes, theatres and cafes in Venice, which always transgressed into wild parties. In the elegant Venetian palaces lavish masked balls marked the beginning of a long and fascinating tradition of masked parties in Venice. Well known and renowned throughout Europe, the Venice Carnival in the eighteenth century became a real institution. Visited each year by thousands of visitors, the prestigious festival of Carnival in Venice at that time reached its zenith and international recognition: the effervescent and transagressive atmosphere, the comedy, masks, spectacular shows and the public gambling house made Venice "The magnet of Europe. "Soon, however, the intent of the Carnival in Venice, the origins and meaning of the festival, an opportunity to vent tensions and discontentment, caused the opposite effect: the ability to completely hide ones identity in traditional Venice Carnival costumes and fancy masks increasingly became the perfect place for theft and harassment of various kinds. 1 These serious excesses forced the Venetian Republic to issue a series of decrees to limit abuses and fraudulent use of masks and costumes in Venice, measures that gradually went to undermine the very essence of the Carnival in Venice and the origins of freedom and equality. After sunset, under the cover of darkness, the Venetian Carnival transgressed into something more sinister, mysterious attackers could freely commit crimes of various kinds with the certainty of impunity thanks to the anonymity guaranteed by the mask. Since 1339 a ban was decreed on Venice Carnival masks and costumes at night. Another abuse was the opportunity to wear womens clothes or religious costumes to break into churches, monasteries or convents and commit indecent acts and libertines. During Venice Carnival in the 15th century therefore it was forbidden to enter holy places wearing masks. The threat to the safety of the inhabitants of Venice was due to the possibility for criminals to hide weapons and other dangerous objects under Venice Carnival costumes. Numerous official documents containing the prohibition to carry objects of a dangerous nature were therefore issued. Venice Carnival 18th century also forbade travelling to the casinos with masks and carnival costumes, due to the numerous incidents in which unknown gamblers were able to escape their creditors. With the fall of the Venetian Republic in 1797, a permanent ban of Venice Carnival costumes arrived, with the exception of private parties in Venetian palaces and the Ballo della Cavalchina at the La Fenice Theatre: the Venice Carnival history was hard hit and a long period of decline ensued that led to the gradual shutdown of all parties connected to it. The last Carnival in Venice is dated at 1797. The fall of the Republic at the hands of Napoleon marked the end of the long independence of Venice and the abolition of the many traditions of the Venetian Carnival for about two centuries. Only from 1967 the first parties were reorganized with parades of masks and costumes, bringing back to life traditions and the Venice Carnival history. In 1979 a program to engage the inhabitants of Venice in the Venetian festivities was drafted for the first time to return the Carnival of Venice to its origins. The new formula has become a success story that has been going on for thirty years.2

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History Venetian masks have a long history of protecting their wearer's identity during promiscuous or decadent activities. Made for centuries in Venice, these distinctive masks were formed from paper-mache and wildly decorated with fur, fabric, gems, or feathers. Eventually, Venetian masks re-emerged as the emblem of Carnevale (Venetian Carnival), a pageant and street fair celebrating hedonism. Venetian masks have been worn in Venice, Italy, since antiquity. Unlike the vast majority of their counterparts in contemporary European nations, each citizen in Venice enjoyed a high standard of living. 3 Everyone was part of the great economic machine that was the Republic. Venice was capitalizing on its position, on its gains, long before its contemporaries had realized the value of a market economy. With a level of social wealth unequaled since, the citizens of Venice developed a unique cultureone in which the concealing of the identity in daily life became paramount to daily activity. Part of the secrecy was pragmatic: there were things to do, people to see, and perhaps you might not want others to know what deals you were cutting. After all, the city is relatively small.4 Additionally, the masks served an important social purpose of keeping every citizen on an equal playing field. Masked, a servant could be mistaken for a noblemanor vice versa. State inquisitors and spies could question citizens without fear of their true identity being discovered (and citizens could answer without fear of retribution). The morale of the people was maintained through the use of masksfor with no faces, everyone had voices. As a result of the concealment of identity, however, people naturally found themselves taking advantage of the situation. The society grew ever more decadent. The immense amount of travelers coming through the city meant that sexual promiscuity was commonplace and acceptable. Gambling went on all day and night in the streets and houses, even in convents. Women's clothing became more revealing; homosexuality, while publicly condemned, was embraced by the populace. Even the nuns and monks of the clergy, bejeweled and dressed in the latest imported creations, wore masks and engaged in the same acts as the majority of their fellow citizens. Rome turned a blind eye, as long as the Republic continued to make generous donations.5 The Republic fell into a state of luxury, indolence, and moral decay. Eventually the wearing of masks in daily life was banned and limited only to certain months of the year. During the last year of the Republic's existence, this period extended for over three months from December 26. After the 1100s, the masquerade went through periods of being outlawed by the Catholic Church, especially during holy days. Their policy leads to eventual acceptance when they declared the months between Christmas and Shrove Tuesday free for Venetian mask - attired decadence. This period evolved intoCarnival, the pre-Lent celebration meaning, "remove meat." Although Venetian Carnival lost popularity as Venice's cultural production faltered during the Enlightenment, it was officially reintroduced in 1979.6 The modern celebration of Venetian Carnival has reinvigorated the art and craft of making Venetian masks. Recognizable types of Venetian masks continue to dazzle tourists, dancers, and pageant participants during Carnival and year round. Wearing Venetian masks has spread to Halloweenmasquerade balls and what North and South Americans call Mardi Gras, but they always carry their rich Italian history.7
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Mask classification In general all Venetian masks may be classified under two major groups: COMMEDIA DELL'ARTE MASKS These masks date back to the second half of the sixteenth century and represent characters, ethnic traditions, professions and trades closely tied to the different cities of Italy personified by professional actors in the Art of Comedy. Commedia dell'Arte, (Italian, meaning "comedy of professional artists") was a form of improvisational theater, which began in the 16th century and was popular until the 18th century, although it is still performed today. Traveling teams of players would set up an outdoor stage and provide amusement in the form of juggling, acrobatics, and, more typically, humorous plays based on a repertoire of established characters with a rough storyline, called Canovaccio.8 Troupes occasionally would perform directly from the back of their traveling wagon, but this is more typical of Carro di Tespi, a sort of traveling theatre that dates back to antiquity. The performances were improvised around a repertory of stock conventional situations, adultery, jealousy, old age, love, some of which can be traced in Roman comedies of Plautus and Terence. The dialogue and action could easily be made topical and adjusted to satirize local scandals, current events, or regional tastes, mixed with ancient jokes and punch lines. Characters were identified by costume,masks, and even props, such as the slapstick. Male Commedia dell'Arte characters were depicted by actors wearing masks representing regions or towns. The female characters, however, were usually not masked. In fact, the roles were often played by males in women's clothing and wigs, in travesti, as it is called.9 Thus, the Commedia dell'Arte, with its stock situations and characters and improvised dialogue, has shown the way to many other forms of drama, from pantomime and Punch and Judy - which features debased forms of the commedia characters - to the modern animated cartoon, situation comedy, and even professional wrestling. The characters and tropes of the Commedia have also been used in modern novels, from sword and sorcery to literary works, notably by Michael Moorcock in his Jerry Cornelius stories that culminate with the Guardian prize-winning The Condition of Muzak.10

Arlecchino is a most popular of Zanni or comic servant characters from the Italian Commedia dell'Arte. Arlecchino traditionally wore an outfit of patches and rags, which evolved into the lozenge-shaped motley seen today. His mask was black with a large red blemish on his forehead similar to a boil. The primary aspect of Arlecchino was his physical agility. While generally depicted as quite stupid and greedy (in a gastronomic sense) his acrobatics were what an audience
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expected to see. The character would never simply perform an action when the addition of a cartwheel or back flip would spice up the movement. Within these restrictions the character was terribly elastic. Various troupes and actors would alter his behavior to suit style, personal preferences, or even the particular scenario being performed.11 He is typically cast as the servant of an innamorato or vecchio much to the detriment of his master's plans.Arlecchino often had a love interest in the person of Colombina, and his lust for her was only superseded by his desire for food or fear of his master. The origins of the name are uncertain. Some say it comes from Dante's Commedia where one of devils is called Alichino. Others say it could come from Harlenkoenig, a Scandinavian hero. In another hypothesis it comes from Harlay, an English gentleman of the court of Henri III, who had protected an Italian actor.12 Other names: Truffaldino, Traccagnino, Bagattino, Tabarrino, Tortellino, Naccherino, Gradelino, Mezzettino, Polpettino, Nespolino, Bertoldino, Fagiuolino, Trappolino, Zaccagnino, Trivellino, Passerino, Bagolino, Temellino, Fagottino, Pedrolino, Fritellino, Tabacchino.13

Brighella is a comic, masked character from the Commedia dell'Arte, a moneygrubbing villain and a partner of Arlecchino. His costume consisted of loosely fitting, white smock and pants with green trim and was often equipped with a battachio or slapstick. He wore a green half-mask displaying a look of preternatural lust and greed.14 He is loosely categorized as one of the Zanni or servant characters though he often was portrayed as a member of the middle class such as a tavern owner. He is essentially Arlecchino's smarter and much more vindictive older brother. As is typical of those who have risen from poverty, he is often most cruel to those beneath him on the social ladder. He is an inveterate schemer. Frequently paired with other Zanni as his assistants or employees, Brighella'splans were frequently foiled by their own ineptitude. Other names: Figaro, Scapin.15

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Burrattino is a minor character from the Commedia dell'arte, one from the Zanni class.He is often not a servant, but is not well to do either. He is the quick witted earthy fellow who might be the innkeeper or grocer. If he is not a servant, he is often friends with them. Though only mildly popular on the stage, Burrattino found his real fame in the marionette theater. According to Pierre Louis Ducharte, Burrattino puppet's influence in Italy was so great that "by the end of the sixteenth century, all marionettes operated by strings and a wire were called burattini, instead of bagatelli or fantoccini, as they had been known up to that time." Other names: Pinocchio, Pedrolino.16

Capitan Scaramouche either a young man of adventure or a quite old mariner, a boasting, swashbuckling officer, often Spanish, dressed-to-kill in cape, feathered hat, high boots, with sword in belt, was always a prime favorite. He told extraordinary tales about how he beat a whole army of Turks and carried off the beard of the Sultan, but when there was a hint of real danger he was the first to run away. He made love to the none-too-innocent servant maid, and got trashed by her Harlequin lover. This character, of course, is none other than the Miles Glorious of Plautus, called in Italy Il Capitano Spavento della Valle Inferno, or simply Spavento. Other names: Capitano Scaramouche, Capitano Metamoros, Capitaine Fracasse, Captain Horribilicribilifax, Ralph Roister Doister, and Bobadil.17

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Colombina (means "little dove" in Italian) is a comic servant character from the Commedia dell'Arte. Colombina was usually dressed in a ragged and patched dress appropriate to a hired servant. Occasionally, under the name Arlecchina she would wear motley similar to her counterpart Arlecchino. She was also known to wear heavy makeup around her eyes and carry a tambourine which she could use to fend off the amorous advances of Pantalone. She was often the only functional intellect on the stage. Colombina aided her mistress, the inamorata to gain the affections of her one true love by manipulating Arlecchino and counter-plotting against Pantalone while simultaneously managing the whereabouts of the inamorato. Other names: Arlecchina.18

Ill Dottore is a local aristocrat and/or doctor of medicine or law or anything else he claims to know about, which is most things. He traditionally is portrayed as having been educated in Bologna. He is often extremely rich, generally with "old" money, though the needs of the scenario might have things otherwise. He is extremely pompous, and loves the sound of his own voice, spouting ersatz Latin and Greek. His interaction in the play is usually mostly with Pantalone, either as a friend, mentor or competitor.19 He is typically depicted as an elderly man who only knows nonsense. He makes many cruel jokes about the opposite sex and believes that he knows everything about everything. He is an obese man that enjoys the bottle and eating to excess. His mask is unique in that it is the only mask in Commedia dell'Arte to cover only the forehead and nose. It is sometimes black in color or else flesh-toned with a red nose. His costume is usually all or mostly black, sometimes with a white collar. He frequently wears a hat, and long, trailing robes. If the actor playing the role is not naturally fat then he is padded out to make him seem so. Other names: Dottore Balanzone, Dottore Baloardo, Dottore Graziano.20

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Pantalone is a miserly, libidinous, aged character from the Commedia dell'Arte. Usually he is a shopkeeper from Vienna, somewhat stupid, fond of food and of pretty women, talkative, gullible, full of temper, and the butt of all the jokes, some of them very indecent, yet forgiving in the end. He traditionally wears a large codpiece to advertise his virility, which everyone around him knows to be long gone.21 He is often cast as the parent of one of the inamorata and has some business or personal relationship with Dottore or Capitano.Pantalone's plans to profit at the expense of his family and friends are guaranteed to be thwarted by his servant. He traditionally wears a large codpiece to advertise his virility (which everyone around him knows to be long gone) along with a mask with a long hooked nose, a tight red vest, red breeches and stockings, a black cassock, slippers and a brimless hat. Other names: Magnifico.22

Pierrot (Pedrolino in his Italian incarnation) is a stock figure in theCommedia dell'Arte. Pierrot is normally portrayed as personable, charming and kind, to the point of excess he blames himself for wrongs never done and because of his good and trusting nature is often easily tricked. The noticeable feature of Pierrot's behavior is his naiveness, he is seen as a fool, always being cheated and joked on by the others. Despite his suspicions about things, Pierrot always ends up trusting people and believing in their lies. Pierrot is also called as a lunatic, an a person outside the reality, in a state of unawareness about what's happening around, someone for whom anything matters, just cheering and playing all the time. Pierrot wears white clothes, which are occasionally overlarge for him but more commonly are well fitted, and sometimes black accessories. On his head he wears a hat that is either tall and pointed or else small and brimmed. Pierrot is very occasionally depicted with a teardrop on his face, and he usually wears no mask; the actor is generally expected to have a great range of facial expression, and this tradition has been in play since at least the start of the 1600s. His face is sometimes whitened with powder or flour. Other names: Pedrolino.23

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Pulcinella is a classical character that originated in the Commedia dell'Arte of the 17th century, a hunchback who still chases women.Pulcinella was the model for Punch in the English variation Punch and Judy. Pulcinella became a stock character in Neapolitan puppetry. His main characteristic, from which he acquired his name, is his extremely long nose, which resembles a beak. In Latin, this was a pullus gallinaceus, which led to the word "Pulliciniello" and"Pulcinella", related to the Italian pulcino or chick.24 His traditional temperament is to be mean, vicious, and crafty: Pulcinella main mode of defense is to pretend to be too stupid to know what's going on, and his secondary mode is to physically beat people.Pulcinella often wears a black mask and long white coat, and has loose and straggly hair. Other names: Punch, Punchinello, Puccio d'Aniello.

Zanni is the archetype of the comic servant characters of theCommedia dell'arte. Its name comes from Giovanni (also said Zan, Zane, Zuane), a typical name of servants whose forefathers emigrated in Venice search for work from the valleys around Bergamo. Opposed to the Magnifici (the masters), the role of theZanni is very changeable: silly, simple-minded, and vulgar. Once inside the city environment Zanni becomes sly, cunning, meddling, and cheeky. Many times he remains poor, constantly hungry. Zanni's costume was loosely fitting white smock and pants. He wore a black mask reminiscent of his more popular descendant, Arlecchino. Other names: Pulcinella, Arlecchino, Brighella, Coviello, Francatrippe, Zan Fitata, Zan Piastrela, Zan Ganassa, Zan Turco.25 CARNIVAL MASKS Venetian Mask is the object, which most represents Venice, because it plays the Venetian spirit projected towards the party, the transgression and the amusement. There were many occasions when people turned to dressing up, in fact masks were worn many months of
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the year. In the eighteenth century, Venice enjoyed the reputation of having the most famous Carnival in the world. All the social classes took part and the mask represented the trick for the expression of that big collective magic.

Bauta is famous through the Carnival of Venice as it is the main type of mask worn during the Carnival. Bauta was used also on many other occasions as a device for hiding the wearer's identity and social status. It would permit the wearer to act more freely in cases where he or she wanted to interact with other members of the society outside the bounds of identity and everyday convention. It was thus useful for a variety of purposes, some of them illicit or criminal, others just personal, such as romantic encounters. The name Bauta does not have up to now, a definite interpretation. It may came from the German "behten" (to protect), as well as from "bau"(or "babau"), typical Italian representation of the monster, or bad beast, used by adults to scare children. "Se non stai bravo viene il babau e ti porta via (if you do not behave, the babau will come and take you away )".26 This very Venetian mask was considered an ideal disguise by kings and princes who could move freely into the city without being recognized but was worn by strangers too. Fame of the Bauta went on along the Serenissima Republic, with the French and Austrian rules it started to disappear, considered as a reactionary symbol. Bauta is quite ghostlike and with the centuries the fashion was to wear it with a black tricorno (the 3-pointed typical Venetian hat), zendale (long hood made of satin and macrame), and long cape. Other names: Larva, Casanova.27

Dama, which presents many elegant variations corresponds to the ladies of the Cinquecento (the period of Titian) who covered themselves in jewels, expensive clothing and elaborate coifs. In our days this is probably the most popular and most beautiful mask type used during the Venetian Carnival. Other names: Liberty, Olga, Valeri, Salome, Fantasia, Regina.28
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Gatto (means cat in Italian) is a traditional Venetian Carnival mask. Cats were so scarce in Venice that they became the subject of one of the most typical masks. Legend has it that a man who owned nothing but his old cat came to Venice from China. The cat rid the palace of all its mice and the man became rich. When he went back home, his rich neighbour was green with envy and rushed to Venice with his most precious silks, thinking that if a mere cat made the other man rich, he would be enormously rewarded for these precious items. Indeed, the Duke promised him his most precious possession in return for his gifts... and the neighbour went home with the cat!29

Jester, or Jolly as a female variant, is a specific type of clown mostly associated with the Middle Ages. Starting in Italy, Jestermoved into all of Europe, influencing theatre in Spain, Holland, Germany, Austria, England, and especially, France. The origins of the Jester are said to have been in prehistoric Western tribal society. Pliny the Elder mentions a royal Jester(planus regius) when recounting Apelles' visit to the palace of the Hellenistic King Ptolemy I. However, Jesters are mainly thought of in association with the European Middle Ages. Jester was symbolic twin of the king. All Jesters and fools in those days were thought of as special cases whom God had touched with a childlike madnessa gift, or perhaps a curse. Mentally handicapped people sometimes found employment by capering and behaving in an amusing way. In the harsh world of medieval Europe, people who might not be able to survive any other way thus found a social niche.30 Jesters typically wore brightly colored clothing in a motley pattern. Their hats were especially distinctive; made of cloth, they were floppy with three points, each of which had a jingle bell at the end. The three points of the hat represent the asses' ears and tail worn by jesters in earlier times. Other things distinctive about the jester were his incessant laughter and his mock scepter, known as a bauble or marotte.
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Other name: Joker, Fool, Buffoon / Boufon, Narr / Naaror, Juglar.31

Moretta is traditional Venetian mask. This mask was worn by Venetian women all year around. Moretta is an oval mask of black velvet that was usually worn by women visiting convents. It was invented in France and rapidly became popular in Venice as it brought out the beauty of feminine features. The mask was finished off with a veil.32

Volto (means face in Italian) also known as the Citizen mask, because it was worn by the common people during all Holidays since ancient time: S. Marco's day, Sensa feast day, S. Vito and Modesto, S. Stefano festivities are only a few examples.33

Dottore Peste is a modern Venetian Carnival mask. This mask has a very unique history. One of the worst scourges for the city of Venice was without any doubt the Plague, which struck the city on several occasions. Because of this the Plague Doctor isn't a real mask but was a disguise used by local plague doctors who went on visits wearing this strange costume to people afflicted with plague. 34 Dottore Peste outfit consisted of a hat to show that the man was a doctor, a mask to protect the face which included crystal eyes to protect the wearer's eyes and the beak which was stuffed with spices or herbs to purify the air that the doctor breathed, a wooden stick to
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push away victims who would get too close to him, a pair of leather gloves to protect the hands, a gown waxed from the exterior, and full length boots. Other names: Plague Doctor, Medico della Peste.35 Dark drama of Venice Carnival Every spring Halloween meets haute couture at the Carnival of Venice. Culminating March 4 after nearly a month of masked frivolity, Italy's most popular festival draws up to three million visitors annually. Wearing feathered headdresses, flowing capes and, most importantly, a bevy of bejeweled masks, they enjoy a giant masquerade party that spills onto the streets and into the canals. The Piazza San Marco is the epicenter of the action, especially during preliminary rounds of the Maschera pi bella contest for the best masked costume. Every day dozens of masked contestants stomp down the runway of the Gran Teatro, a temporary outdoor theatre, hoping to make the grand final. Costumes skew toward the elaborate, with men and women dressed as brightly-colored court jesters, kabuki princesses, and glittering animals. Regardless of the outfit, Venetian masksa symbol of the city and a focal point of the carnivalare essential to any winning ensemble. During the final, contestants pout and vogue in front of an international panel of costume, fashion and mask designers. Among them is Stefano Nicolao, one of Venice's most esteemed costume designers, who has dressed Hollywood stars for films including "Elizabeth" and "Pirates of the Caribbean." He does not approach his responsibilities as a juror lightly. "The theme of the mask is absolutely essential to help your imagination arrive at what I call the dream," he says. "For me, emotion must emanate through the costume and the person who wears it. There must be beauty, originality, an explosion of color."36 Given the complexity of Nicolao's criteria, there is no formula for success. Last year the Italian artist Anna Marconi won the contest on her 17th try. Dressed as a sumptuous doll, she offered a high-fashion take on the toy box. The 2012 winnersa group of five men and women from Germanywore billowing pink and purple dresses with matching masks. They appeared to be masquerading as Marie Antoinette's tea servants. A history of craftsmanship The origins of the masked carnival remain a mystery, though it's often said the festival first appeared in the 12th century to celebrate a military victory. Today the city uses the carnival to showcase Venetian culture, which includes a long and proud history of mask masking. Artisans have passed down mask making skills over successive generations. As a child Maximiliano Gimenez learned the craft from his uncle. Today he runs Blue Moon Venice, an atelier and retailer. He and his 15 artisans produce roughly 15,000 Venetian masks per year and are currently training two young apprentices. Some of his staff have been making masks for more than twenty years.
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The "Volto Piume" (Feather face), one of his most ornate masks, retails from 200. Starting with a paper mache base, artisans apply a thin layer of paint that cracks to give the mask an antique look. They then adorn it with lace sourced in Venice, and finish it with gold leaf and Swarovski crystals.
"At the end it is encircled with two layers of real cock feathers in different colors," Gimenez says. "We only use natural colors, of course."

Unmasking the mind The enduring popularity of masks doesn't stem merely from their beauty. It also stems from the freedom that comes with hiding who you areor at least who people think you should be. Carla Almanza-de Quant, an artist and Venetian mask maker in California, has clients all over the world. They call on her to create gorgeous masks that will turn heads and break the ice. "Once you put on a mask you're cheerful, you're playful, you're a more wonderful you," she says. "You become a fantasy character and you interact with others in a more outgoing way. The real mask is the one we put on every day because society tells you how to do this, and how to do that."37 Chinese rivals? The global interest in masks isn't waning, and mass retailers are keen to tap into the market. Target invites customers to "make a dramatic entrance to your next masquerade ball" with its $18.49 Venetian Mask with Headpiece in polyester. Walmart sells a $9.99 Venetian Raven Adult Halloween Mask in plastic with "a unique crackle finish." The arrival of cheap, mass-produced masks from China has created new frustrations for Venice's mask makers.38 Chinese manufacturers sometimes try to sell their products under the brand "Made in Italy", and attach labels that wrongly say they were made by hand in Venice. The influx of low-quality masks, which retail for a few dollars, also distorts the expectations of consumers who begin to question why authentic Venetian masks can cost several hundred euros. Gimenez of Blue Moon Venice believes his masks carry the soul of the city with them. "Those who want to buy mass-produced plastic should not come to us," he says. "Our customers receive something original and unique, created by artisans with passion and love."39

WEBOGRAFIE
1. http://en.wikipedia.org/wiki/Carnival_of_Venice 2. http://www.venetianmasksshop.com/history.htm#top 3. http://themascherade.com/contents/en-us/d5_Page_5.html
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http://edition.cnn.com/2014/03/04/travel/whats-with-those-mysterious-masks-the-dark-drama-of-venicecarnival/ 38 Idem. 39 Idem.

4. 5. 6. 7.

http://www.magicofvenezia.com/servlet/the-template/maskstory/Page http://en.venezia.net/venice-carnival.html http://www.carnevalevenezia.com/ http://edition.cnn.com/2014/03/04/travel/whats-with-those-mysterious-masks-thedark-drama-of-venice-carnival/