Nazbilj and nahvao: Unmasking by Držić

Inspired by the social reality and culture of his manneristic time, Marin Držić often uses the mask as a highly motivated element of his dramatics. This analysis tries to show the mechanisms through which theatrical guises are used, and the three ways in which they appear: the mask and the costume as theatrical stage properties; an »imaginary« mask in the game of perspective within the play’s realm; the audience’s perception of the mask. Within the elements chosen to ascertain the nature of theatre, Držić has once more been established as an author of a multi-layered dramatic opus. He is closest to what we call the form of »controlled improvisation«, as defined by Ivan Slamnig, in which he tries to show the rich variety of possibili- ties in using the mask, as well as the meaning of unmasking – in his playing with the theatrical mask, Držić deliberately avoids repetition and uses the mask as an element of the complexity of manneristic theatrical illusion