masque shakespeare

26–47. Erica Longfellow, Daniel Starza Smith, and Nadine Akkerman. 1 (2003): 25–43. _____. Cunningham, Dolora. “The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative.” Dance Research 32, no. 244-272. _____. Daye, Anne. 233–63. “Perplexive Perspectives: the Court and Contestation in the Jacobean Masque.” Seventeenth Century 18, no. Lindley, David, ed. The emphasis is on the interrelationship between the masque and poetic drama and the use within the drama of certain qualities which had become associated with the masque. Berkeley: University of California Press, 1973. John Gillies and Virginia Mason Vaughan, pp. Twycross, Meg, and Sarah Carpenter. Request. 131–63. Lost Plays The Green Show at the Oregon Shakespeare Festival recreates Riverside, CA: Society of Dance History Scholars, 1999. Jackson, Simon. Select a purchase Urbana, IL: University of Illinois Press, 1994. Howard, Skiles. A number of Shakespeare plays contain a masque somewhere in the action, where the characters have a party where there is music and dancing.Romeo and Juliet is an example of that. 2 (1992): 271–95. “Defacing the Carcass: Anna of Denmark and Ben Jonson’s Masque of Blackness.” Refashioning Ben Jonson: Gender, Politics, and the Jonsonian Canon, ed. David M. Bergeron, pp. Traditionally Shakespeare’s plays are categorised as Comedy, History, Roman and Tragedy, with some additional categories proposed over the years. Oxford: Oxford University Press, 2006. IV.). 175–93. Anglo, Sydney. This list of Shakespeare plays brings together all 38 plays in alphabetical order. Toronto: Meany, 1996. Barroll, Leeds. A masque is a form of courtly entertainment containing music, dancing, singing and acting out a story. institution. Nevile, Jennifer. 3 (2007): 360-400. 255–67. _____. John Milton’s Aristocratic Entertainments. <> Embedded audio playback is not supported by your browser. Wickham, Glynne. Cunningham, James. banquet "was so furiously assaulted that down went tables and New York: Russell & Russell, 1926, 1968. 287-302. “Courtly Personages: the Lady Masquers in Ben Jonson’s Masque of Blackness.” Shakespeare and Renaissance Association of West Virginia—Selected Papers 10 (1985): 49–61. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16, no. Marcus, Leah S. “City Metal and Country Mettle: the Occasion of Ben Jonson’s Golden Age Restored.” Pageantry in the Shakespearean Theater, ed. (The Yale Ben Jonson, vol. New Haven: Yale University Press, 1969. In The Tempest, Prospero uses his magic to tressles before one bit was touched.". In the succeeding chapters, Shakespeare’s plays are grouped according to what appears to be the most obvious function of the masque. “Dance: The Speaking Body in Jonson’s ‘Pleasure Reconciled to Virtue.’” Ben Jonson Journal 14.2 (2007): 173-91. One of these additional categories of Shakespeare’s plays is ‘ Masque ‘. “Pageants, Masques, and History.” The Cambridge Companion to Shakespeare’s History Plays, ed. “Black Skin, the Queen’s Masques: Africanist Ambivalence and Feminine Author(ity) in the Masques of Blackness and Beauty.” English Literary Renaissance 29, no. _____. 180–185. [2] [3] [4] The masque in The Tempest is not an actual masque, it is an analogous scene intended to mimic and evoke a masque, while serving the narrative of the drama that contains it. If the play was staged with scenic machinery at court, Shakespeare's shipwreck scene must have been spectacularly realistic compared with the dreamy fantasy of Chapman's floating island. Ravelhofer, Barbara. An Edition of Sixty-Three Items of Music for the English Court Masque from 1604 to 1641. At the end, the players would take off their masks to reveal their identities. Roman Plays “Dancing Queen, Elizabeth I and Anna of Denmark: Dance, Masques, and the Queen’s Role.” PhD diss., University of Minnesota, 2003. Pageantry in the Shakespearean Theater. There is a masked ball in Romeo and Juliet, and in Midsummer Night’s Dream there is a masque dance to celebrate the wedding of the Duke to the Amazon Queen. 1 (Summer 1998): 67-73. There is one well-designed connection that appears to be really important for some of the scholars. 3 & 4 (2002): 435-437. _____. _____. Note: For additional masque studies, see the “Selective guide to further reading and resources” in Richard Dutton’s “The Masque” in Teaching Shakespeare and Early Modern Dramatists, edited by A. Hiscock and L. Hopkins (Palgrave Macmillan, London, 2007). The purpose of this thesis is to examine the dramatic function of the Court Masque in the plays of William Shakespeare and to determine how the integration of the masque, either in whole or in part, enhanced his plays both structurally and thematically. Shewring, Margaret, and J. R. Mulryne. Boehrer, Bruce Thomas. Oh, Elisa. Assand, Hardin. “Theatre as Text: the Case of Queen Anna and the Jacobean Court Masque.” The Elizabethan Theatre XIV, ed. London: Jordan & Sons, Ltd., 1965. festive events such as weddings, or Performance: https://youtu.be/LxP2YIMZbwU; program notes: https://youtu.be/LxP2YIMZbwU. Shakespeare’s plays generally accepted as including masques are: The performance of a masque traditionally took place on festive occasions, usually at the royal court. Masque, also spelled mask, festival or entertainment in which disguised participants offer gifts to their host and then join together for a ceremonial dance. For terms and use, please refer to our Terms and Conditions Robert N. Watson, pp. Jennifer Richards and James Knowles, pp. Romance Plays _____. Crouch, Patricia A. Jacobean and Caroline Masques. Amsterdam: Rodopi, 2009. Dutton, Richard. works in English and American literature. Cambridge: Cambridge University Press, 2009. The masque is integrated into the plot and its qualities adapted to reinforce the theme. Orgel, Stephen, and Roy Strong. “From Revels to Revelation: Shakespeare and the Mask” Shakespeare Survey 60 (2007): 58-71. New York: Peter Lang, 2004. 1 (1993): 2-21. setting of a poem he wrote, "Pastime with Good Company.". The Masque of Stuart Culture. Stuart courts. into the night and sometimes into early morning. Sabol, Andrew J., ed. The Early Stuart Masque: Dance, Costume, and Music. A typical masque consisted of a band of costumed and masked persons of the same sex who, accompanied by torchbearers, arrived at a social gathering to dance and converse with the guests. Elizabeth were fond of dancing and the “Queens and the International Transmission of Political Culture,” co-authored with Malcolm Smuts. Barbour, Richmond. Women and Culture at the Courts of the Stuart Queens. The Tempest not only has a masque with gods and goddesses dancing in a performance for a prince and princess but the whole play can be seen as a masque, with much of the story told in music and song. 43–58. Oxford: Clarendon Press, 1980. Rebhorn, Wayne A. Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier. *, Typically, masques were occasions for revelling during The anti-masque that he presents is used to enforce control over his enemies and show punishment for those that commit atrocities. Julie Sanders, Kate Chedgzoy and Susan Wiseman, pp. It was an opportunity to praise the monarch, a celebration of his presence and of his authority. Cambridge, MA: Harvard University Press, 1967. 1 (1998): 81–100. 3 (2003): 298–313. 3 (2015): 377-399. “Masque and Anti-masque in The Tempest.” Essays and Studies 28 (1975): 1–14. Mickel, Lesley. Meagher, John C. “The Dance and the Masques of Ben Jonson.” Journal of the Warburg and Courtauld Institutes 25 (1962): 258-277. Mullally, Robert. Thiel, Sara B. T. “‘Cushion Come Forth’: Materializing Pregnancy on the Stuart Stage.” In Stage Matters: Props, Bodies, and Space in Shakespearean Performance, eds. C��E�O�ُ���ܼ���S�x*�i=ۥ���hG�,� Q��j x���nG�݀��Ʌ4��ٖw���F@������:��p�� $����>z$�~oޜ}|��{�/���w����Wg�����}�J���˼�r%�!q�~�*w���_}z�����i ?�s���+��k����.���kT�}� ����T���%L���;�ۼ�=����:�z��FP1�ڬ,��ս��.D���M��\���可_] ��U*fU�T�>�>�.WKq�\?.�����Vy�u��P��ןf�5��5��_ .>����]�'Py����[�U�=����!��ü�m���^=�;���~������mtE���4�r�h�ߧV�e&�U|��$|�U�9>"y���O��i�XW��0X8�P�1�n\b�.�)8�X(e�Vu�5p�2�

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