الممثل و القناع المسرحي في عروض المسرح المصري خلال النصف الثاني من القرن العشرين

Abstract EN

In the beginning, researcher refers to that there are several types of mask such as behavioral mask, literary mask and theatre mask .

Then, he deals with theatre mask, as a goal of the study and its purpose, to discuss the nature of the relation between the actor and theatre mask, and its reflections on forming of the final artistic features of performance.

Therefore, he stops at (King Lear), which was directed by Mohamed Abdel Hady in ^ \ as an applied model to the study; because the structure of it was founded on theatre masks in relation to the actor, and its effect on acting .

In the end, results showed that the employment of theatre masks in (King Lear) made it necessary for the actor to use his diverse vocal and motor skills, in order to emphasize the idea of performance in general, and express the true meaning of Shakespearean characters in particular