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	Moretta/Servetta muta

	gabriela stoica

	Added On: 2014-02-22
	Description:
	Oval, made of black velvet or leather, caught with a button on the inside of the mouth (held between the clenched teeth), Moretta was invented in France in the 18th century. For the first time it appeared in the work of Pietro Longhi, "The Rhinoceros” in 1751 and was no longer used since 1760. This mask was worn especially by the high society, by servants (both women and men), when the carriers (women) were visiting a monastery (at the meetings of monks) if the vows of silence were official and also in the gambling houses. Consciously adopted later by the high society as an accessory for highlighting the feminine beauty, this time giving up on the button support, women were constrained to develop their stylish behavior (tilting of head, fluttering eyelashes, a hand touch), becoming a specific and complex body language of flirting. However, the carrier was unable to speak, eat or drink. This imposed silence contented the male counterparts, thus encouraging silence in an era in which women's opinions were considered unimportant, women being evaluated only for their physical attributes. The concept of mimicry is evident in the process of feminine gender identification with stereotypical ideas about femininity conditioned by the Venetian society. "The Other stops being a concrete human being and turns into the embodiment of a projection of the spiritual" (Mathilde Niel, “Le drame de la libération de la femme”, 1968). Identification with the Ideal Image offers the wearer a sense of security. As the individual feels more similar to this stereotype, his personality seems more powerful because it won the acceptance of the community and that of his own conscience. The 'moral' system of reference produces a rejection of the real personality in which the individual absorbs a borrowed personality, a pseudo personality that he begins to consider his true personality. Thus, the woman seeks to conform to the Ideal Image of Beauty. She is constrained to believe that docility and giving up the individual desires is a part of sexual attraction. Michel Leiris describes fetishistic pleasure at the sight of the masked woman’s body which in this way loses its identity becoming a generic being. What the author shows as eroticism involves taking possession, a domination that became instinct, a sexual objectification of women chained and depersonalized. ("Documents" surrealist art magazine edited by George Bataille, Paris, 1929-1930). Servetta Muta uses Italian sign language as a metaphorical way to highlight the impossibility of affirming feminine gender.
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