This project explores Peter Hall's idea that heightened theatrical text functions as an objective visible mask for vocal performance (Hall 45). The project reviews the vocabulary and representation of vocal form and examines the relationship between structural elements in the text and the resulting vocal form.

The research reveals that, rather than being objective and visible, the textual mask is often subjective and ambiguous. The objectivity of the mask is challenged by the existence of conflicting textual methods of constructing vocal form. The visibility is challenged by the lack of consistency among representation systems.

The project concludes that, rather than viewing the textual mask as a monolithic entity that governs vocal form, it is more useful to view each textual element of the mask as having a degree of coupling to vocal form. Some elements are more tightly coupled to others. This positions the textual mask as creating possibilities for vocal form, rather than dictating one particular vocal form. A commitment to one of these possibilities results in a specific vocal form. This vocal form functions more like a mask than the textual structure itself. The mask of vocal performance lies in the vocal mask rather than the textual mask.