This research is concerned with studying the face and mask in the performance of the theatrical actor, meaning the transformation from the real face of the actor to the mask of the non-material character through expressions and sensory and motor transitions, in order to distinguish between the actor and the character represented on the stage, and this is specific to the Iraqi actor. The research is divided into four chapters, and the first chapter came to define the research problem, which was defined by the following question: How can the Iraqi actor overcome the duality of the face and the mask in the transformations of his performance through the emotion of the actor and the character? It also included the importance of the research by considering it another preliminary study that complements other scientific, artistic and academic studies, as well as benefiting students and workers in the theatrical field, and the objectives of the research that were based on identifying the duality of the face and the mask and its transformations in the performance of the Iraqi actor. The research included in the second chapter two topics on the concept of face and mask in theater and the other on the transformations between face and mask in theater, and the play (Al-Hussein Now) directed by Aqil Mahdi was chosen intentionally as an analytical model and reached a number of results through it in the fourth chapter in addition to the conclusions.