Nietzsche, the mask, and the problem of the actor

Readers of Nietzsche are not unfamiliar with the thought that his philosophical writings contain numerous at least apparent contradictions. We begin with one of them. On the one hand, Nietzsche takes pride of place in the canonical parade of theatre-haters. Indeed, he himself demands inclusion: ‘I am essentially anti-theatrical’. This antipathy appears to extend to the actor’s ‘inner longing for a role and mask’. On the other hand, Nietzsche is known as an advocate and admirer of the mask: ‘everything profound loves masks’ reads one of his best-known lines. Mask-wearing, whatever that turns out to be, is not only a social strategy, but also a philosophical or intellectual one, as we shall see. The mask has a variety of associations, of course, but a salient one, for Nietzsche, was its relation to the actor, beginning with its use in Greek tragedy. Thus we seem to find a Nietzsche who on the one hand opposes the theatre and the actor’s role-playing and mask-wearing and, on the other hand, who encourages the mask, which he himself associates with acting and theatre. Of course, this tension has potential implications for our understanding of Nietzsche's antipathy to theatre. To take one example, he seems to connect theatre with lack of honesty, including to oneself (GS 368). And yet some have taken Nietzsche as ‘masking’ his own thoughts, as a means to avoid being honest with himself. This chapter looks in detail at the use of the mask in Nietzsche and at how it relates to questions of sincerity, interpretation and his later, naturalist project.