Every culture has some element of representative theatre of art, and Nogaku is the classical Japanese form which tells the narrative of human suffering, trials and challenges encompassing masks, elaborate costumes, and traditional music reflective of the times and periods of tragic and comic proportions throughout history.
Why are masks used? What is it about the frozen caricature, that moment in time when a look, a grimace, a smile or an unconcealed filament of emotion that encapsulates human suffering, tragedy or a breeze of joy? Masks frozen reveal but a singular moment — or so one assumes, until you look at it from a different angle, a changed light, or perhaps when one’s own emotions alter and bring to the stage the experiences and baggage accumulated throughout a lifetime.
Masks fascinate — look at the glee, fear and awe on a child’s face, and those memories frozen in time as the child claps, stares, puts the tiny involuntary hand to his or her mouth, as the play before unfolds, whether in life or on the stage. We all wear masks; some to conceal, others to gloss over.
For Federal employees and U.S. Postal workers suffering from a medical condition, such that the medical condition prevents one from performing one or more of the essential elements of one’s Federal or Postal positional duties, the daily mask in order to conceal the progressive deterioration of one’s health, is no different from the theatre of plays performed.
Only, for the Federal and Postal worker who must consider filing for Federal Disability Retirement benefits through the U.S. Office of Personnel Management, whether the Federal or Postal employee is under FERS, CSRS or CSRS Offset, the “play” never ends, as real life is ongoing; and the mask worn changes not in response to the altering angle of light, but rather, because of the unremitting articles of life which slowly chip away at the brave face of time, like the dust of age which fades the painted Noh mask, whether on stage or in the arena of daily living.
Robert R. McGill, Esquire