<P> Illustrations of theatrical masks from 5th century display helmet - like masks, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig . These paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality . This demonstrates the way in which the mask was to' melt' into the face and allow the actor to vanish into the role . Effectively, the mask transformed the actor as much as memorization of the text . Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character . </P> <P> The mask - makers were called skeuopoios or "maker of the properties," thus suggesting that their role encompassed multiple duties and tasks . The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig consisting of human or animal hair . Due to the visual restrictions imposed by these masks, it was imperative that the actors hear in order to orient and balance themselves . Thus, it is believed that the ears were covered by substantial amounts of hair and not the helmet - mask itself . The mouth opening was relatively small, preventing the mouth to be seen during performances . Vervain and Wiles posit that this small size discourages the idea that the mask functioned as a megaphone, as originally presented in the 1960s . Greek mask - maker, Thanos Vovolis, suggests that the mask serves as a resonator for the head, thus enhancing vocal acoustics and altering its quality . This leads to increased energy and presence, allowing for the more complete metamorphosis of the actor into his character . </P> <P> In a large open - air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to create a sense of dread in the audience creating large scale panic, especially since they had intensely exaggerated facial features and expressions . They enabled an actor to appear and reappear in several different roles, thus preventing the audience from identifying the actor to one specific character . Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in a particular character's appearance, e.g. Oedipus after blinding himself . Unique masks were also created for specific characters and events in a play, such as The Furies in Aeschylus' Eumenides and Pentheus and Cadmus in Euripides' The Bacchae . Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona or single organism and simultaneously encouraged interdependency and a heightened sensitivity between each individual of the group . Only 2 - 3 actors were allowed on the stage at one time, and masks permitted quick transitions from one character to another . There were only male actors, but masks allowed them to play female characters . </P> <P> The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors . The actors with comedic roles only wore a thin soled shoe called a sock . For this reason, dramatic art is sometimes alluded to as "Sock and Buskin ." </P>

The actors in ancient greek theatre wore masks because
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