By Barbara Ravelhofer
The Early Stuart Masque: Dance, dress, and song reports the complicated influence of pursuits, costumes, phrases, scenes, track, and lighting tricks in English illusionistic theatre of the Renaissance. Drawing on an important volume of documentary facts with regards to English productions in addition to spectacle in France, Italy, Germany, and the Ottoman Empire, the ebook elucidates specialist ballet, theatre administration, and dramatic functionality on the early Stuart court docket. person stories take a clean examine works via Ben Jonson, Samuel Daniel, Thomas Carew, John Milton, William Davenant, and others, displaying how courtroom poets collaborated with tailors, designers, technicians, choreographers, and aristocratic in addition to specialist performers to create a blinding occasion. in keeping with wide archival learn at the families of Queen Anne and Queen Henrietta Maria, precise chapters spotlight the creative and fiscal keep watch over of Stuart queens over their masques and pastorals. Many plates and figures from German, Austrian, French, and English data illustrate accessibly-written introductions to gown conventions, early dance types, female and male performers, the dramatic symbolism of colours, and degree layout in functionality. With most appropriate costumes and choreographies, masques as soon as appealed to the 5 senses. A tribute to their colourful brilliance, this ebook seeks to get well a misplaced size of functionality tradition in early smooth England.
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Additional resources for The Early Stuart Masque: Dance, Costume, and Music
Fifteenth-cent. 12); the book was bequeathed to the library by Edmund Gheast, bishop of Salisbury, in 1577. My thanks to Suzanne Eward for this bibliographic information. Robert Coplande’s The Maner of Dauncynge, also known as English and Continental Sources 37 Derbyshire family. One John Banys (hitherto unidentified) collated them around 1500 in a tiny pocket book with Latin prayers and other unconnected matter. ⁴² The entire repertoire seems to require male dancers only, a unique phenomenon among pre-1700 European collections of social dances.
Montaigne regards dance as active creative involvement just in the same way as reading is an active involvement with the text. ²⁹ ‘Pompee’ Diobono was ‘the best’, Cesare Negri declared not quite impartially, as he himself had studied under the celebrity and taken over Diobono’s school upon the latter’s departure to Savoy and France. At the court of Henri II and Catherine de’ Medici, Diobono taught dancing and genteel comportment, and was paid handsomely, privileged with livery and official titles.
On Italian baladins see Jacqueline Boucher, La Cour de Henri III (Rennes, 1986), 101. ²⁷ Letter of Henri III, 1574, in McGinnis, ‘Moving in High Circles’, ch. 6. )²⁸ The imitation of Diobono’s and Paluello’s feats requires physical involvement. Montaigne regards dance as active creative involvement just in the same way as reading is an active involvement with the text. ²⁹ ‘Pompee’ Diobono was ‘the best’, Cesare Negri declared not quite impartially, as he himself had studied under the celebrity and taken over Diobono’s school upon the latter’s departure to Savoy and France.