Stage Notes: Confronting Hypermasculinity in "The Odyssey"

My mask teacher, a pleasant soft-spoken man about 50, sat cross-legged on his patio mid-thought. In his hand was an intricately emblazoned dance mask which was used in numerous productions of The Mahabharata which he had hand-carved and painted. At least a dozen others were all nailed to the walls of his spacious, yet cluttered studio. He was reflecting, on his career, but mostly on The Mahabharata and its partner epic, The Ramayana (think The Iliad’s Odyssey) as well as numerous other myths and stories he built for. Finally, with a laugh, he says – as if he himself is realizing the thought in the same moment: “Maybe there wouldn’t be all of these tragedies had men simply learned to respect

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