Janco has made a number of masks for the new soiree, and they are more than just clever. They are reminiscent of the Japanese or ancient Greek theater, yet they are wholly modern. They were designed to be effective from a distance; in the relatively small space of the cabaret they have a sensational effect. We were all there when Janco arrived with his masks, and everyone immediately put one on. Then something strange happened. Not only did the mask immediately call for a costume; it also demanded a quite definite passionate gesture bordering on madness. Although we could not have imagined it five minutes earlier, we were walking around with the most bizarre movements, festooned and draped with impossible objects, each one of us trying to outdo the other in inventiveness. The motive power of these masks was irresistibly conveyed to us. All at once we realized the significance of such a mask for mime and for the theater. The masks simply demanded that their wearers start to move in a tragic-absurd dance...What fascinates us all about the masks is that they represent not human characters and passions, but characters and passions that are larger than life. The horror of our time, the paralyzing background of events, is made visible.
Hugo Ball, Die Flucht aus der Zeit