ABSTRACT
The Orient, not only as a removed and remote world that provides an ideological framework for much of the theorising in its pages, but also as a specific locus for particular artistic forms, is dominant in The Mask and throughout Craigian thought. Despite the vagueness of the term, the East, or what Craig conceives as such, plays a determining role in the formulation and articulation of Craigian theories for the theatre throughout the pages of The Mask. Much of the material about oriental theatrical modes presented in The Mask was new for most western audiences certainly for English speaking ones and consequently very important historically. Oriental artistic modes presented the ultimate dehumanized art form. Abstract, stylized and highly conventional, they provided Modernism with a language which was the antithesis of humanism and naturalistic mimesis. For Idealistic Modernism the Orient remained essentially other. It presented a regenerating force for Europe. Its art was magic, wise, sensual and ritualistic.
