Popular forms of entertainment can fade from view so thoroughly that they are almost never seen again. Masques.
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How much did they ever matter in opera, a form that subsumed masques, semi-operas, singspiels and the like?
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Up next month: a collection of three dry clay masques that, when activated with water, help to reset and balance your skin.
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Salieri adroitly handles the dizzying array of situations that Beaumarchais throws his way, generating Oriental marches, love duets, shepherd masques, and bloodthirsty monologues.
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I spent 40 freaking minutes looking at myself in a mirror, carefully applying melting cleansers, exfoliating masques, and enriching oils into my face and neck.
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With his must-have masques, finishing serum and secrets to eliminating split ends, she's ready to go head-to-head with Princess Kate's iconic locks.
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A champion of the Polish composer Karol Szymanowski, Mr. Anderszewski also included the restless, dark "Schéhérazade" from that composer's "Masques" suite and a turbulent movement from his Third Sonata.
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Ranavat Botanics Michelle Ranavat crafted this organic range of masques and tonics using inspiration from India's beauty history and Ayurvedic medicine, along with ingredients sourced from the Himalayas and New Zealand.
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In an abandoned cemetery, Hervé Youmbi has hung "Les masques Célèstes" (2017), a series of masks that at first sight recall the animistic African masks that for centuries have elicited great fascination from the Western imagination.
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By 1605, he had returned to England to be the designer of costumes and scenery for Queen Anne's ornate "masques," but had also begun designing buildings under the patronage of Robert Cecil, the first Earl of Salisbury.
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Mr. Doran, noting that there is a masque within "The Tempest " and that the most up-to-date special effects were often deployed in Jacobean masques, asked his staff to think about what effects Shakespeare might have employed if he were alive today.
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Before the actual text is even heard, an (invented) family rehearsal recreates the difficulties that might well have surrounded the original appearance of the piece in 1634, masques being an all-but-forgotten courtly entertainment intended to pay tribute to something or other that was happening at the time.
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Court masques and masques of the nobility were most popular in the Jacobean and Caroline era. Such masques, as their name implies, relied heavily upon a non-verbal theater. The character lists for masques would be quite small, in keeping with the ability of a small family of patrons to act, but the costumes and theatrical effects would be lavish. Reading the text of masques, such as The Masque at Ludlow (most often referred to as Comus), the writing is spare, philosophical, and grandiose, with very few marks of traditional dramatic structure.
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Compositions for masques and other entertainments followed in the 1630s, sometimes with brother William and others such as Simon Ives.Murray Lefkowitz, William Lawes, London, 1960. Unlike his songs (see below), little of his music for the masques survives.
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Masques also reintroduced spells with alternative casting costs. This mechanic had not been used since Weatherlight. In Nemesis, new Rebels, Mercenaries, and Spellshapers were added to the Mercadian Masques repertoire. The Flowstone creatures, originally introduced in Stronghold had another showing.
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The most outstanding humanists, poets and artists of the day, in the full intensity of their creative powers, devoted themselves to producing masques; and until the Puritans closed the English theatres in 1642, the masque was the highest artform in England. But because of its ephemeral nature, not a lot of documentation related to masques remains, and much of what is said about the production and enjoyment of masques is still part speculation.
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Masques were multimedia, for they almost always involved costuming and music as a method of conveying the story or narrative. Ben Jonson, for example, wrote masques with the architect Inigo Jones. William Davenant, who would become one of the major impresarios of the English Restoration, also wrote pre-Revolutionary masques with Inigo Jones. The role of the architect was that of designer of the staging, which would be elaborate and often culminate in a fireworks show.
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Musees de la ville, Paris, 1983Andre Ostier : Masques Et Bergamasques : French Institute Alliance Francaise, New York, 1988.
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The Masquerade Cycle,, sometimes incorrectly referred to as the "Masques block", is a Magic: The Gathering cycle (trilogy of expansions) that is set on the planes of Mercadia, Rath, and plane of Dominaria. It consists of the sets Mercadian Masques (4 October 1999, mask), Nemesis (14 February 2000, axe), and Prophecy (5 June 2000, crystals). Mercadian Masques was the first set that is not subject to Wizards of the Coast's Reprint Policy, meaning that none of its cards appear on its Reserved List.
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Twelve of Nalješković's carnival songs (Pjesni od maskerate; the 9th, 4th and 7th masques were published in 1844 and 1858, and all of them in 1873) constituted complete masques. The first was a sort of prologue announcing the arrival of the company (composed of masked speakers of other songs: lovers, Latins, gypsies, shepherds, slaves). From the usual framework of carnival masque tradition, Nalješković's masques stood out for their risky carnival obscenity and erotic verbosity, reflecting the merry and lascivious Renaissance carnival atmosphere.
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This is partially due to the purpose of the masque being family entertainment and spectacle. Unlike The Masque at Ludlow, most masques were recreations of well- known mythological or religious scenes. Some masques would derive from tableau. For example, Edmund Spenser (Fairie Queene I, iv) describes a masque of The Seven Deadly Sins.
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She left the newspaper in 1995 to teach cultural mediation at the university. In 2006, she published Mozart et ses masquesMozart et ses masques on Amazon in the Omnibus series.Mozart et ses masques, La Libre Belgique, 2006. Rey died in Paris 31 January 2012Disparitions: Anne Rey, journaliste, essayiste et enseignante, Le Monde, 7 February 2012.
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Danilo Reato, Les masques de Venise, Paris, Hersher, 1991 (first published in italian, 1988) People with different occupations wore different masks.
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He attended the masques London's Love to Prince Henry and Tethys' Festival.Norman McClure, Letters of John Chamberlain, vol. 1 (Philadelphia, 1939), p.
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John Orrell, "The London Stage in the Florentine Correspondence, 1604-1618," Theatre Research International 3 (1977-8)Martin Butler and David Lindley, "Restoring Astraea: Jonson's masque for the fall of Somerset," English Literary History 61 (1994). The masques in the 1616 folio appear to be arranged in a consistent chronological order; Mercury Vindicated is second to last in the volume, and TGAR is the final work included. Recent scholarship tends to rely on the implications of the original text, and treats the two masques as presented in that order.Peter Holbrook, "Jacobean masques and the Jacobean peace," in: David Bevington and Peter Holbrook, eds.
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Beginning around 1587, the Inns of Court produced masques and revels, yet another contrast from the Oxford and Cambridge plays. Until the end of the 17th century, these performances typically took the form of masques written by law students at the Inns of Court. Once the Inns of Court transitioned from masques to plays, the so-called third university served as a cradle for classical English drama. Eventually, by the early 17th century, writers such as Ben Jonson and William Shakespeare began producing English comedies at the Inns of Court, thus expanding the range of materials performed.
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Time Vindicated to Himself and to his Honours was a late Jacobean era masque, written by Ben JonsonStephen Orgel, ed., Ben Jonson: The Complete Masques, New Haven, Yale University Press, 1969. and with costumes, sets, and stage effects designed by Inigo Jones. James's son and heir Prince Charles led the dances of the principal masquers, as he had in several previous masques at the Stuart Court.
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Tilney brought about another important change in the development of drama by giving priority to the play instead of the masque as part of the entertainment. Masques were very expensive to produce, and Tilney cut down on the Revels expenses by producing plays. In the succeeding reign of James I, masques made a comeback. On 24 March 1603, Elizabeth's reign ended and James I ascended the throne.
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The antemasque differed from the masque in that it was performed by professionals .." Masques originally usually had one antemasque before the main masque, but later it became common to have several antemasques preceding the main masque.Thomas Middleton: The Collected Works 2010 p.1324 0199580537 "Earlier masques usually had one antemasque, which preceded the main masque, but later it became common for the masques to have several antemasques."Mara R. Wade Gender Matters: Discourses of Violence in Early Modern Literature 9401210233 - 2013 "This moment, along with the antemasque's inclusion of the marriage god Hymen, recalls Ben Jonson's The Masque of Hymen (1606), in which Juno and eight ladies descend from above.
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Love's Triumph Through Callipolis, performed at Whitehall Palace on 9 January 1631, was only the first of two masques mounted at Court that winter season; the second was Chloridia, staged on 22 February. The first masque featured King Charles himself, performing with fourteen lords of his Court; the second featured Henrietta Maria and her ladies in waiting. The former circumstance constituted a major innovation: in the previous reign, Queen Anne had regularly appeared in masques, but the King never did. Charles would perform again in the next year's masque, Albion's Triumph by Aurelian Townshend (designed again by Inigo Jones), and in subsequent masques as well.
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L'Atroce Volupté is a drama in two acts by Georges Neveux and Max Maurey, premiered at the Théâtre des Deux-Masques in Paris on 14 March 1919.
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Barroll (ed.), p 175. The Vision of the Twelve Goddesses stood as a precedent and a pattern for the many masques that followed during the next four decades.
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Hagerman says that in the way that Pamphilia is ambivalent about what to do with her love for Amphilanthus, Wroth herself is ambivalent about the life of courtly masques. The contradiction of allowing women to have "feminine expressive display" of feelings and then strictly "enforced silence" could have represented the good and the bad of courtly life for Wroth. In the masques, Wroth was given a voice, but after she was no longer affiliated with the court life, she recognized the artificiality of the voice she had because the courtly life and the masques require a level of falseness. Gary Waller states that Wroth's female characters describe the pressure they feel in terms of theater and display.
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Retrieved on 2009-07-02. Al-P is now in the electronic duo MSTRKRFT.Martel, Stéphane (July 20, 2006). "MSTRKRFT: Que tombent les masques ", Voir. Retrieved on 2009-07-02.
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Following his death, the score was lost and only rediscovered early in the twentieth century. Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernised in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally.
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Samuel Daniel and Sir Philip Sidney also wrote masques. William Shakespeare included a masque-like interlude in The Tempest, understood by modern scholars to have been heavily influenced by the masques of Ben Jonson and the stagecraft of Inigo Jones. There is also a masque sequence in his Romeo and Juliet and Henry VIII. John Milton's Comus (with music by Henry Lawes) is described as a masque, though it is generally reckoned a pastoral play.
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The masque was intended as the major entertainment of the 1623-24 Christmas holiday season, and was scheduled to be performed on Twelfth Night, 6 January 1624. During the Jacobean era, however, attendance at the performances of the Stuart Court masques was coveted and controversial -- especially among the foreign diplomats of the Court, who competed fiercely among themselves for admittance to the masques and especially for seating near the King.Chambers, Vol. 3, pp. 375-91.
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After the gentle "Tendresse", the suite ends with a lively evocation of Spain, which, Orledge notes, is one of Fauré's few purely extrovert pieces.Orledge, p. 95 ;Masques et bergamasques, Op. 112 From the orchestral suite drawn from his music for the stage presentation Masques et bergamasques, Fauré made a transcription for piano duet, which was published in 1919. Like the orchestral suite, it consists of four movements, titled "Ouverture", "Menuet", "Gavotte" and "Pastorale".
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La fête des masques is a book by Togolese author Sami Tchak. It won the Grand prix littéraire d'Afrique noire in 2004."Liste Des Lauréats", Grand prix littéraire d'Afrique noire.
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The Festival International des Masques et des Arts (International Festival of Masks and the Arts), or FESTIMA, is a cultural festival celebrating traditional African masks held in Dédougou, Burkina Faso.
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The sets, costumes, and stage effects were designed by Inigo Jones; Blackness was the first of many masques for the Stuart Court on which Jonson and Jones would collaborate.Giles Worsley, Inigo Jones and the European Classical Tradition (Yale, 2007), p. 6. The music for Blackness was composed by Alfonso Ferrabosco. Jones designed a raised and mobile stage for the masque, forty feet square and four feet off the floor; this was employed for many subsequent masques.
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Servais de Condé or Condez (employed 1561-1570) was a French servant at the court of Mary Queen of Scots, in charge of her wardrobe and the costumes for masques performed at court.
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Richard III and Henry VII both maintained small companies of professional actors. Their plays were performed in the great hall of a nobleman's residence, often with a raised platform at one end for the audience and a "screen" at the other for the actors. Also important were Mummers' plays, performed during the Christmas season, and court masques. These masques were especially popular during the reign of Henry VIII who had a house of revels built and an office of revels established in 1545.
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Titlepage to Love in Several Masques Love in Several Masques is a play by Henry Fielding that was first performed on 16 February 1728 at the Theatre Royal, Drury Lane. The moderately received play comically depicts three lovers trying to pursue their individual beloveds. The beloveds require their lovers to meet their various demands, which serves as a means for Fielding to introduce his personal feelings on morality and virtue. In addition, Fielding introduces criticism of women and society in general.
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Also important in this period were the folk dramas of the Mummers Play, performed during the Christmas season. Court masques were particularly popular during the reign of Henry VIII.Brockett and Hildy (2003, 101-103).
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1607–08) or Hamlet (c. 1600–02) were staged, they were perhaps quaintly old-fashioned: “What means this, my lord?” is Ophelia's reaction. In English masques, purely musical interludes might be accompanied by a dumbshow.
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In 2007, Vacheron Constantin introduced the Métiers d'Art 'Les Masques' collection of timepieces featuring miniature reproductions of primitive art masks. The company selected twelve masks from a private museum collection and reproduced the masks on a small scale. The miniaturized masks are featured in the dial centre of every watch from the 'Les Masques' collection. in 2012, Vacheron Constantin introduced the Métiers d'Art 'Les Univers Infinis' collection of timepieces featuring tessellation, a design of interlocking identical shapes, inspired by the work of Dutch artist Maurits Cornelis Escher.
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He provided an introduction to Wilde's play Salome. His book Masques and Phases is a collection of previously published short stories and reviews. As an art critic, Ross was highly critical of the post-impressionist painters.
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Soutar has been nominated for several awards by the Soirée des Masques de l'Académie québécoise ("Prix de la Revelation" 2001), Académie québécois du théâtre (Best New Text, Best English Production, 2006), and Le Prix Michel Tremblay (2009).
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In the Himalayas, masks functioned above all as mediators of supernatural forces.François Pannier, Stéphane Mangin, Masques de l'Himalaya, du primitif au classique. Paris: Editions Raymond Chabaud, 1989, p. 44. Lisa Bradley & Eric Chazot, Masks of the Himalayas.
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Masques were a favourite court celebration dating from at least the reign of Elizabeth I, but became very popular under the Stuarts. The main parts were often played by courtiers, nobles and sometimes even the royals. In fact, Caroline masques (of which Comus is an example) frequently featured the King and Queen (Henrietta Maria), as they were far more interested in becoming involved than King James and his queen Anne had been. This masque was not performed at the court, however, but at the home of Lord Bridgewater, Ludlow Castle.
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302 Originally for voice and piano, it was later orchestrated by Fauré as part of his incidental music for Masques et bergamasques (1919). Fauré composed the song in the key of F minor, but it was first published (Hamelle, Paris, 1907) in E minor.Johnson, p. 28 When Fauré orchestrated the song for Masques et bergamasques he wrote to his wife that it was not at all well known: "for just as pianists play the same eight or ten of my pieces, so singers all sing the same songs".
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This masque differed in some ways from other masques of the time, in that it was longer and did not rely as much on music. The text was revised and published in 1638.Shawcross 1993, p. 29. Milton was a theatre-goer in his youth, as he mentions in Elegy I, and his dramatic work on masques, though the genre was closely associated with court entertainments, has been seen as suggestive of a reforming rather than a negative attitude to drama, in contrast to militant critics such as William Prynne from the Puritan side.
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According to John Smith, James I was so unprepossessing, neither Pocahontas nor Tomocomo realized whom they had met until it was explained to them afterward. Such masques were later augmented with French musicians, whom Queen Henrietta Maria, the wife of Charles I, brought to the court.Halliday, p 156 The masques began a slow decline, however, after the death in 1625 of Orlando Gibbons, who ironically died on a trip to meet the newly married Henrietta Maria and her musicians. Inside the building is a single two-storey, double-cube room.
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She was brought up in an almost entirely female household—evoked in Emilia Lanier's Description of Cookeham—and received an excellent education from her tutor, Samuel Daniel the poet. As a child she was a favourite of Queen Elizabeth I. She danced in masques with Queen Anne of Denmark, consort of King James I, and played the Nymph of the Air in Samuel Daniel's masque Tethys's Festival, and played roles in several of the early court masques by Ben Jonson, including The Masque of Beauty (1608) and The Masque of Queens (1609).
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Michael Leapman, Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance, London, Headline Book Publishing, 2003; p. 125. In this it was different from Jonson's earlier masques like The Masque of Blackness and others, though similar to the immediately preceding masque, Love Freed from Ignorance and Folly. Even more unusually, Love Restored was staged without the participation of Inigo Jones, who had designed the costumes, sets, and stage effects of the prior masques. Aristocratic amateurs of the Court danced ten roles, personifications of Honour, Courtesy, Valour, etc.
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Each of the Mercadian Masques theme decks has at least one spellshaper, a theme of the set. The pre-constructed theme decks are Deepwood Menace (green-red), Disrupter (black-red), Rebel's Call (white), and Tidal Mastery (blue-white).
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Henry Morley, Masques and Entertainments by Ben Jonson (London, 1890), pp. xii-xiii: James Robinson Planche, A Cyclopedia Of Costume, vol. 2 (London, 1879), p. 394: John Payne Collier, Annals of the Stage, vol. 1 (London, 1831), pp.
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Mayhar was nominated for the Mark Twain Award, and won the Balrog Award for a horror narrative poem in Masques I, and had numerous other nominations for awards in almost every fiction genre, and won many awards for poetry.
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The masques at the baptism of James VI at Stirling Castle in December 1566 involved fireworks and mock sieges.Sarah Carpenter, 'Performing Diplomacies: the 1560s Court Entertainments of Mary Queen of Scots,' in Scottish Historical Review, vol. 82, 2, no.
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Of the 28 songs currently contained in the manuscript, six are from plays or masques (nos. 24, 29, 40, 43, 47, 52). Seven of the missing songs are also from dramatic works (nos. 2, 4, 5, 13, 19, 30 and 38).
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He was also joined by a group of Irish players, who brought their own costumes. He encouraged court masques and seasons of plays at the Tennis-Court Theatre, one of which included acting by Princess Anne, the future Queen Anne.
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It is a biennial event which takes place every two years in Bobo Dioulasso, the second-largest city in the country. The Festival International des Masques et des Arts (FESTIMA), celebrating traditional masks, is held every two years in Dédougou.
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Maurice Sand, "Tartaglia the stutterer (1650)". Originally published in Masques et bouffons, une histoire illustrée de la comédie italienne (1862). Tartaglia is a dainty character in the Commedia dell'arte. He is farsighted and with a minor stutter (hence his name; cf.
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This was in keeping with Jones's primacy in the courtly masque in the 1630s. After Chloridia in 1631, Jones's contentious, quarter-century-long masquing collaboration with Ben Jonson came to an end; in their long-running contest of wills and egos, Jones had won and Jonson had lost. With Aurelian Townshend's 1632 masques, Albion's Triumph and Tempe Restored, Jones's influence became paramount. Jones, however, was not a literary man; the text of Luminalia has been called "in terms of poetry and literary ideas...the most incoherent and meaningless of the masques...."Erica Veevers, quoted in Britland, p. 169.
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For years after its release, Mercadian Masques was considered to be an underpowered set. Reportedly, the designers were extremely gun-shy following the runaway power of the Artifacts Cycle, which had led to many banned cards. In response to the experience with the Artifacts Cycle, the developers of Mercadian Masques dialed back the power of the set, resulting in a set that in its time was considered to be weak; the same phenomenon would take place between the latter-day Mirrodin block and Kamigawa blocks. However, the set did produce a respectable number of tournament-quality cards.
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The early plays include Love in Several Masques, The Temple Beau, The Author's Farce, Tom Thumb, Rape upon Rape, The Tragedy of Tragedies, The Letter Writers, The Welsh Opera, The Grub-Street Opera, The Lottery, The Modern Husband, The Old Debauchees, The Covent-Garden Tragedy, and The Mock Doctor. These plays start in 1727, when Fielding first worked on Love in Several Masques, until the disruption of the winter 1732–1733 theatre season at the Theatre Royal, Drury Lane.Paulson 2000 pp. 33–35 This disruption, caused by illness, management problems, and other incidents, started the Actor Rebellion of 1733.
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So by the 19th century, the carnivals of the relatively wealthy bourgeois town communities, with elaborate masques and costumes, existed side by side with the ragged and essentially folkloric customs of the rural areas.The Universe of Masks/trans. from Masques du Monde; Revelard, Kostadinova; La renaissance du Livre Although these civic masquerades and their masks may have retained elements drawn from popular culture, the survival of carnival in the 19th century was often a consequence of a self-conscious 'folklore' movement that accompanied the rise of nationalism in many European countries.Masks: the Art of Expression edit.
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In her youth Lady Rachel Fane wrote masques for performance at family entertainments.Marion O'Connor, 'Rachel Fane's May Masque at Apethorpe, 1627', English Literary Renaissance, vol. 36, No. 1 (Winter 2006), pp. 90-113 One of these was her "May Masque" of 1627.
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These masques contained songs and dances. In Ben Jonson's Lovers Made Men (1617), "the whole masque was sung after the Italian manner, stilo recitativo".Stanley W. Wells, Literature and drama with special references to Shakespeare and his contemporaries (London: Routledge, 1970), p. 66.
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After 1614, the masques were written and designed by professionals; simultaneously the new emerging dramas were written and performed by professional theatre practitioners. Due to the close proximity to the English court, nobility frequently attended the performances at the Inns of Court.
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Product is an album by British jazz fusion group Brand X, originally released in 1979. It features primary member Phil Collins back once again on drums following his absence on Masques. Drummer Mike Clark and bassist John Giblin also appear on this album.
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Cox, 246. Turning from the traditional genres of tragedy and comedy of manners, these writers reinvented drama by writing masques and pastoral dramas. He argues that Midas and Proserpine are a pair of mythological dramas that demonstrate "the forces of oppression".Cox, 252.
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Sukošan cherishes the old customs. They are linked to the feast of St. Kasijan, the patron saint of Sukosan (13 August). The Nights of Sukosan is another event offering entertainment. During the carnival season, "luzari", masques typical only of Sukosan, represent a special attraction.
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He inherited the title of Baron when he was 17 years old. In August 1594 he travelled with the Earl of Sussex to Stirling Castle for ceremonies and masques at the christening of Prince Henry of Scotland.Calendar State Papers Scotland, vol. 11 (Edinburgh, 1936), pp.
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The Venetian ambassador to the Stuart Court, who witnessed Tempe Restored, described it in a letter as "a sumptuous masque performed with wonderfully rich decorations." Even so, the cost for the masque, at around £800, was fairly modest, compared to other masques of the era.
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Scholars have disputed the order in which two of the Jonson- Jones masques were performed at Court. Traditionally, Mercury Vindicated was assigned to the 1614-15 Christmas holiday season, and The Golden Age Restored to the following 1615-16 season.Chambers, Vol. 3, pp. 389-91.
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Polack is the co-editor of Masques, published by Canberra Speculative Fiction Guild, and of the forthcoming Baggage anthology to be published by Eneit Press run by Sharyn Lilley. The table of contents includes K. J. Bishop, Jack Dann, Kaaron Warren and Jennifer Fallon.
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In England, Tudor court masques developed from earlier guisings, where a masked allegorical figure would appear and address the assembled company—providing a theme for the occasion—with musical accompaniment; masques at Elizabeth's court emphasized the concord and unity between Queen and Kingdom. A descriptive narrative of a processional masque is the masque of the Seven Deadly Sins in Edmund Spenser's The Faerie Queene (Book i, Canto IV). A particularly elaborate masque, performed over the course of two weeks for Queen Elizabeth, is described in the 1821 novel Kenilworth, by Sir Walter Scott. Queen Elizabeth was entertained at country houses during her progresses with performances like the Harefield Entertainment.
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At the start of his reign in 1625, Charles discontinued the practice of staging annual masques during the Christmas season, which had prevailed throughout the reign of his father James I, from The Masque of Blackness in 1605 to The Fortunate Isles and Their Union in 1625. His new bride, Henrietta Maria of France, was too young and inexperienced to take over the role of the previous queen, Anne of Denmark, who had been the prime mover in the production of the masques. The resumption of masquing in 1631 has been seen as a sign of the greater maturity and the growing influence of Charles's then 21-year-old queen.Leapman, pp.
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While there, he mainly studied sound editing and made 3 short films: "Discours" (Speech), "Comment se pendre" (How to hang himself), "that it will wire for sound" in 1974, and "Masques" in 1959, which he made in collaboration with Marc Lobet on a music of Fernand Schirren.
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The Masque of Beauty was entered into the Stationers' Register on 21 April 1608 and published later that year by the bookseller Thomas Thorpe, in the same volume as The Masque of Blackness. Both masques were reprinted in the first folio collection of Jonson's works in 1616.
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"Nightcrawlers" is the third and final segment of the fourth episode of the first season (1985–86) of the television series The Twilight Zone. It is taken from a short story of the same name by Robert R. McCammon, first published in the 1984 collection Masques.
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Knudesn also made a libretto for Jean Sibelius' Scaramouche. While Okon Fuko was still without a premiere, Madetoja agreed to compose music for Knudsen's new play Les masques de la vie et de la mort for the Royal Danish Theater, but Madetoja never finished this task.
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Scholars have disputed the order in which two of the Jonson-Jones masques were performed at Court. Traditionally, Mercury Vindicated from the Alchemists was assigned to the 1614-15 Christmas holiday season, and The Golden Age Restored to the following 1615-16 holiday season.Chambers, Vol. 3, pp. 389-91.
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C. H. Herford and Percy Simpson, in their edition of Jonson's works, argued that the two masques had been chronologically transposed, and that TGAR was the earlier work.Ben Jonson, Works, C. H. Herford and Percy Simpson, eds., 11 Volumes, Oxford, Clarendon Press, 1925-52; Vol. 10, pp. 545-6.
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Nikola Nalješković () (around 1500, Dubrovnik - 1587, Dubrovnik) was a Ragusan poet, playwright and scholar. He wrote poetry, romantic canzones, masques (carnival songs), epistles, pastoral plays, mythological plays, farce, comedy and drama with features of Plautine erudite comedy and Roman mime. His dramatic works include lascivious and common themes.
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The masque was published in quarto, in an undated edition that probably (to judge by the examples of previous masques) was issued soon after the February performance. The text was reprinted in the first folio collection of Jonson's works in 1616, and in subsequent collections of Jonson's works.
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Lord 2003, p. 41 Plays, perhaps particularly the heavier histories and tragedies, were frequently broken up with a short musical play, perhaps derived from the Italian intermezzo, with music, jokes and dancing, or were followed by an afterpiece known as a jigg, often consisting of scandalous or libellous dialogue set to popular tunes (anticipating the Ballad Opera).Lord 2003, p. 42 Court masques also developed during the Tudor period that involved music, dancing, singing and acting, often with expensive costumes and a complex stage design, sometimes by a renowned architect such as Inigo Jones, presented a deferential allegory flattering to a noble or royal patron.Buelow 2004, p. 26 Ben Jonson wrote many masques, often collaborating with Jones.
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Some of his most popular stories are mysteries that have appeared in the Cat Crimes anthology series. In 2007 his story "Rami Temporales" was adapted by Stranger Things into a short film entitled "One of Those Faces"Everything2 homenode starring Toby Turner. Braunbeck also teaches creative writing at Seton Hill University, Pennsylvania, in an innovative low-residency Master of Fine Arts degree program in Writing Popular Fiction.Gary A. Braunbeck - Official Site He has also served as co-editor for the latest installment of the Masques horror- anthology series created by Jerry Williamson, Masques V. For a time he was also a regular contributor to Everything2 and served briefly as a content editor there.
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He was accommodated at Eltham Palace. Drebbel worked there at the masques, that were performed by and for the court. He was attached to the court of young Renaissance crown-prince Henry. He astonished the court with his inventions (a perpetuum mobile, automatic and hydraulic organs) and his optical instruments.
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William Shakespeare often included masque-like sections in his plays.Shakespeare 1998, p. 44. The musical sections of masques developed into sung plays that are recognizable as English operas, the first usually being thought of as William Davenant's The Siege of Rhodes (1656), originally given in a private performance.Buelow 2004, p.
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The Three Masks (French:Les trois masques) is a 1929 French film directed by André Hugon and starring Renée Héribel, Jean Toulout and François Rozet.Rège p.511 The film is considered to be France's first talking picture, but was produced in England. The first talking picture produced in France is probably "Chiqué".
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The queen's half-brother, James Stewart, now Earl of Mar, married Agnes Keith on 8 February 1562. Arran escorted Mary to the feasts on Shrove Tuesday at Holyrood Palace, but became ill before the triumphs or masques on the following days.Calendar State Papers Scotland, vol. 1 (Edinburgh, 1898), p. 603.
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Les Masques, ou Changement de dames is a short ballet of 1933 choreographed by Frederick Ashton to music by Francis Poulenc.Vaughan D. Frederick Ashton and his Ballets. A & C Black Ltd, London, 1977, p84-7. Ashton's biographer describes it as a miniature masterpiece, an inspired fusion of scenery, steps and music.
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Fielding first produced a play in February 1728. Although his first production, Love in Several Masques, lasted only a few nights, it was the start of his career in theatre.Rivero 1989 p. 6 On 16 March 1728, Fielding enrolled at the University of Leyden, but he did not abandon the theatre.
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The party carried with it all the equipment and paraphernalia required for the festivals, feasts, masques, and joyeuses entrées planned to take place along the route. These included portable triumphal arches and the royal barges. Catherine had ordered that at the Château de Fontainebleau, each important noble should host a ball.
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The parades, the streets lined with tapestry hung from houses, the feasting, the masques and allegorical entertainments, the jewels, impressed all observers as "the marriage of the century". It is reenacted at Bruges for tourists every five years with the next event in 2022, the last one having taken place in August 2017.
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93, 304; Ives 2009 p. 321 It was a magnificent festival, with jousts, games, and masques. For the latter, two different companies had been booked, one male, one female. The Venetian and French ambassadors were guests, and there were "large numbers of the common people ... and of the most principal of the realm".
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According to his diary Edward had a lot of fun; he watched mock battles, masques, and there was "a fair dinner made", a great banquet.Ives 2009 p. 111 The match was to express the renewed amity between the young couple's fathers, who had been political rivals, but the peace would not last.
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Masques is the 1978 album by the British jazz fusion group Brand X. This was the band's first studio recording without drummer Phil Collins. The rear of the album cover has a photo of the crowd from the Knebworth Festival, 1978 — a bill that included both Brand X and Genesis, Collins' other band.
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The Queen's House at Greenwich, begun for Anne in 1616 Anne's masques were responsible for almost all the courtly female performance in the first two decades of the 17th-century and are regarded as crucial to the history of women's performance.McManus, 3; Barroll uses the extant masque lists from 1603–10 to identify the noblewomen of Anne's inner circle. Barroll, 58. Anne sometimes performed with her ladies in the masques herself, occasionally offending members of the audience. In The Vision of the Twelve Goddesses of 1604, she played Pallas Athena, wearing a tunic that some observers regarded as too short; in The Masque of Blackness of 1605, Anne performed while six months pregnant, she and her ladies causing scandal by appearing with their skin painted as "blackamores".
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Robert Dudley, Earl of Leicester Kenilworth is a conjectural reconstruction of one of the masques that might have been performed for the pleasure of Queen Elizabeth on her visit to Robert Dudley at Kenilworth Castle in 1575.Information about Elizabethan masques Dudley entertained the Queen for two weeks with pageants and banquets that cost some £1000 per day, presenting diversions and pageants surpassing anything ever before seen in England. The text of Kenilworth consists of descriptions of various mythical entities, creatures and people joyfully praising Elizabeth, singing and dancing to her after her arrival in Kenilworth on a summer's night. These include the Lady of the Lake, who rises from the water to greet her, and the ancient Greek poet Arion, who arrives astride a dolphin.
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Dobrée, p. 148 The laws of behaviour he laid out were rather Puritanical: swearing, lying, and drunkenness were forbidden as well as "idle amusements" such as stage plays, gambling, revels, masques, cock-fighting, and bear-baiting.Dobrée, p. 149 All this was a radical departure from the laws and the lawmaking of European monarchs and elites.
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Handel composed Belshazzar in the late Summer of 1744 concurrently with Hercules, during a time that Winton Dean calls "the peak of Handel's creative life".Dean, Winton. Handel's Dramatic Oratorios and Masques. London: Oxford University Press, 1959. pp. 435 The work premiered the following Lenten season on 27 March 1745 at the King's Theatre, London.
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Brennert also writes short stories and novels. His first story, "City of Masques", was published in 1973. In 1975 he was nominated for the John W. Campbell Award for Best New Writer in Science Fiction. He won a Nebula Award for Best Short Story in 1991 and had stories in Gardner Dozois's Year's Best volumes.
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He went every evening for the next few days to see more plays by Goldoni. Newly inspired by the theater, he applied and was accepted to the theater school Accademia dei Filodrammatici. During the war he went into exile in Switzerland. With Geneva's Compagnie des Masques he directed the world premiere of Albert Camus’ Caligula.
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Plots were often on classical or allegorical themes, glorifying the royal or noble sponsor. At the end, the audience would join with the actors in a final dance. Ben Jonson wrote a number of masques with stage design by Inigo Jones. Their works are usually thought of as the most significant in the form.
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In Magic: The Gathering, 'Mercenary' is one of several 'creature types' game cards can possess. The type was introduced in Ice Age, but became widely used in Mercadian Masques, in 1999. The Mercadian Masque mercenary cards were colored black, representing entropy, darkness, or selfishness. Many of these cards could expedite bringing smaller Mercenaries into play.
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Henry Fielding Love in Several Masques was Fielding's first play. It was advertised on 15 January 1728 in the London Evening Post and first ran on 16 February 1728 at the Theatre Royal. Performances were held on 17, 19 and 20 February, with the third night being the author's benefit. The play was never revived.
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Pascoe, 184. Literary scholar Jeffrey Cox has argued that Midas, along with Proserpine, Prometheus Unbound and other plays written by the Leigh Hunt circle, were "not a rejection of the stage but an attempt to remake it".Cox, 246. Turning from tragedy and the comedy of manners, these writers reinvented drama by writing masques and pastoral dramas.
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21 Campbell, Jill Natural Masques: Gender and Identity in Fielding's Plays and Novels Stanford University Press An Irish pamphlet Petticoat Government, Exemplified in a Late Case in Ireland was published in 1780. The American writer Washington Irving used the phrase in Rip Van Winkle (1819)."Rip Van Winkle." p. 60 Frances Trollope wrote Petticoat Government: A Novel in 1850.
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Dermalogica is an American personal care company headquartered in Carson, California. Its products include cleansers, exfoliants, toners, masques, eye treatments, and moisturizers, as well as an acne treatment line for teens. Dermalogica has primary operations in the United States, the United Kingdom, Canada, Australia, India, Pakistan and Ireland and is sold in more than 80 countries worldwide.
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The masque scene is noteworthy for its treatment of lesbianism; Zimmerman, p. 162. (In the early productions, all the female roles were filled by boy actors.) This would have been another dig at Prynne, who was particularly incensed about sexuality and perceived immorality on the stage, in various aspects -- boys dressing as women, women appearing in masques, etc.
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The treaty was sealed by the betrothal of Catherine's thirteen-year-old daughter Elisabeth to Philip II of Spain.Knecht, Catherine de' Medici, 55. Their proxy wedding, in Paris on 22 June 1559, was celebrated with festivities, balls, masques, and five days of jousting. King Henry took part in the jousting, sporting Diane's black-and-white colours.
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Mercadian Masques consists of 350 cards: 110 each of commons, uncommons, and rares plus 20 basic lands. It was the first large expansion to use the new 6th Edition rules. This was the first set to have an accompanying fat pack. It reprinted a number of cards from previous sets, many of which have not been reprinted since.
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The later is a vernacular Scots comedy of errors, probably designed for court performance for Mary, Queen of Scots or James VI.Carpenter, 2011, p. 15. Costume for court masques, performed at the weddings of prominent courtiers, was managed by servants like Servais de Condé.Joseph Robertson, Inventaires de la Royne Descosse (Edinburgh, 1863), pp. lxxxii, 136, 138.
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This masque was the first one performed in the new Banqueting House in Whitehall Palace, designed and built by Inigo Jones after the previous wooden structure burned down in January 1619. Still standing, the Banqueting House at Whitehall is often considered Jones's architectural masterpiece, and was the scene of many subsequent masques at the Stuart Court.
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Ed. David Lindley. Manchester: MUP, 1984. For example, his audience would have been expecting, based on other masques of this time, that the antimasque would be dispelled by virtue (usually embodied by the King and Queen). Yet in Comus the Lady's virtue is not enough to save her: she is unable to dismiss Comus on her own.
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A few months later, he was taken to South Africa to be treated for illness.Georges Alain Boyomo, "Présidentielle 2011: Les caïmans ne tombent pas les masques", Mutations, 19 July 2011 . Kodock was ultimately unable to stand as a presidential candidate because the authorities rejected his application.Clarisse Juompan, "Cameroun : les grands absents de la présidentielle", Jeune Afrique, 3 October 2011 .
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Armand Silvestre's original 1878 poem, set by Fauré "Madrigal", Op. 35 is a four-part song by Gabriel Fauré to words by Armand Silvestre, composed in 1883. It is written to be sung by vocal quartet or choir, with piano or – a later addition – an orchestral accompaniment. The song was reused in 1919 in the composer's Masques et bergamasques.
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Orgel qualifies the claim that no women appeared onstage in England in this period, by pointing to non-professional participation in court masques, the records of professional female performers in the Lord Mayor of London pageants of 1523 and 1534, and various foreign professional female performers on the London stage in this period (1996, 4–9).
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Crisp (1997), p. 103. The first all-talking German feature, Atlantik, had premiered in Berlin on October 28. Yet another Elstree-made movie, it was rather less German at heart than Les Trois masques and La Route est belle were French; a BIP production with a British scenarist and German director, it was also shot in English as Atlantic.Chapman (2003), p.
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In most of these masques she chose roles designed to advance ecumenism, Catholicism and the cult of Platonic love. The result was an increasing intolerance of Henrietta Maria in Protestant English society, gradually shifting towards hatred. In 1630, Alexander Leighton, a Scottish doctor, was flogged, branded and mutilated for criticising Henrietta Maria in a pamphlet, before being imprisoned for life.White, 26.
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William Shakespeare: The Critical Heritage. London, Routledge, 1974; p. 417. By his own testimony (in A New Catalogue), Langbaine collected printed editions of 980 plays and masques, not counting drolls and interludes. (Langbaine's Catalogue was first published in November 1687 under a false title, Momus Triumphans: or The Plagiaries of the English Stage, which mocked what others considered Langbaine's obsessive concern with plagiarism.
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After the war Smith started a law practice in St. Louis. He also became active in various civic functions; in 1914 he started the pageant-Masques on Art Hill in Forest Park. The outdoor pageants gradually were developed as The MUNY theatre, an open-air forum. Smith was appointed by the mayor as the chairman of the City Plan Commission in 1916.
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The Gypsies Metamorphosed was not only popular with its Jacobean audience; modern critics have tended to judge it affirmatively as well. At least one modern scholar has considered it "Jonson's finest achievement as a writer of masques."Dale B. J. Randall, quoted in Logan and Smith, p. 80. The masque's multiple levels of meaning have attracted a wide range of critical commentary.
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Transformation scene in a political cartoon of 1898 The transformation scene is a theatrical convention of metamorphosis, in which a character, group of characters, stage properties or scenery undergo visible change. Transformation scenes were already standard in the European theatrical tradition with the masques of the 17th century. They may rely on both stage machinery and lighting effects for their dramatic impact.
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The masques of Inigo Jones and Ben Jonson settled into a form that had an antimasque preceding a courtly display, the two parts being linked by a transformation scene. The scene is an abstract representation of the royal power of bringing harmony. Comus, the masque written by the poet John Milton, implies a transformation scene heralded by the arrival of the character Sabrina.
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C. H. Herford and Percy Simpson, in their edition of Jonson's works, argued that the two masques had been chronologically transposed in the 1616 Jonson folio, and that TGAR actually preceded Mercury Vindicated.Ben Jonson, Works, 11 Volumes, Oxford, Clarendon Press, 1925-52; Vol. 10, pp. 545-6. Their argument received some general acceptance for a time, but was refuted by later researchers.
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Live performances before an audience constitute a major form of entertainment, especially before the invention of audio and video recording. Performance takes a wide range of forms, including theatre, music and drama. In the 16th and 17th centuries, European royal courts presented masques that were complex theatrical entertainments involving dancing, singing and acting. Opera is a similarly demanding performance style that remains popular.
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His 1987 film Masques was entered into the 37th Berlin International Film Festival. His 1991 film Madame Bovary was entered into the 17th Moscow International Film Festival. In 1995 he was awarded the Prix René Clair from the Académie française for his body of work. In 1999 his film The Color of Lies was entered into the 49th Berlin International Film Festival.
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Sarah Andrew It is possible that the plot of Love in Several Masques is connected to Fielding's own attempt to marry Sarah Andrew in November 1725.Cross 1918 pp. 53–55 Fielding met Andrew when he travelled to Lyme Regis. She was his cousin by marriage, 15 years old, and an heiress of the fortune of her father, Solomon Andrew.
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Daniel's text draws on classical mythology. The presenters are Iris, the Graces, a Sybil, and personifications of Night and Sleep. (These speaking roles were taken by boys and men who were not aristocrats but lower Court functionaries. Aristocratic participants in Court masques generally did not take speaking roles.)For later exceptions to the rule, see The Gypsies Metamorphosed and The Shepherd's Paradise.
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The play's relative success when compared to other plays at Goodman's Fields was in part caused by the relative freedom granted by Goodman's Fields, though the play was not dramatically different from Fielding's first play, Love in Several Masques. No contemporary reviews exist. Modern critics generally view it as an improvement in Fielding's playwriting while still considering it to have several weaknesses.
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Gilbert La Rocque (April 29, 1943 - November 26, 1984) was a Canadian writer from Quebec."Gilbert La Rocque". The Canadian Encyclopedia, May 7, 2009. He was most noted for his novel Les masques, which was a finalist for the Governor General's Award for French-language fiction at the 1980 Governor General's Awards and won the Prix Suisse-Canada in 1981.1980\.
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With the renaissance of English musical composition during the late 19th and early 20th century (the so-called English Musical Renaissance), English composers turned to the masque as a way of connecting to a genuinely English musical-dramatic form in their attempts to build a historically-informed national musical style for England. Examples include those by Arthur Sullivan, George Macfarren, and even Edward Elgar, whose imperialistic Crown of India was the central feature at the London Coliseum in 2005. Masques also became common as scenes in operettas and musical theatre works set during the Elizabethan period. In the 20th century, Ralph Vaughan Williams wrote several masques, including his masterpiece in the genre, Job, a masque for dancing which premiered in 1930, although the work is closer to a ballet than a masque as it was originally understood.
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During the previous six years, the English Court of King James I had established a pattern of staging a major (and expensive) masque in the Christmas season, often on Twelfth Night. James's queen, Anne of Denmark, was a prime mover is these entertainments, and repeatedly performed in them herself, as in the masques of Blackness (1605), Beauty (1608), and Queens (1609). 1611 saw a divergence from this pattern: the major masque of that season was Oberon, the Faery Prince, which starred Anne's and James's eldest son Henry Frederick, Prince of Wales. Anne got a masque of her own a month later, though it was a more modest affair than previous events; while the bills for earlier masques regularly ran into the thousands of pounds, the total for Love Freed from Ignorance and Folly was only £719.
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Grey also took an active part in the court masques and tournaments. It was reported at court on 9 September 1613 that a duel was to be fought by him and the King's favourite, Lord James Hay. He became Lord Lieutenant of Gloucestershire and was called the "King of the Cotswolds", owing to his generosity and his magnificent style of living at his residence, Sudeley Castle.
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Luminalia or The Festival of Light was a late Caroline era masque or "operatic show", with an English libretto by Sir William Davenant, designs by Inigo Jones, and music by composer Nicholas Lanier. Performed by Queen Henrietta Maria and her ladies in waiting on Shrove Tuesday, 6 February 1638, it was one of the last and most spectacular of the masques staged at the Stuart Court.
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She wears a draped mantle—embroidered with seed pearls in a pattern of ostrich plumes—and a matching turban. The mantle knotted on one shoulder was worn in Jacobean court masques, as the costume designs of Inigo Jones indicate. The painting's near-nudity, however, makes the depiction of an actual masque costume unlikely.Chirelstein, "Lady Elizabeth Pope: The Heraldic Body", in Renaissance Bodies, 36–59.
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Winton Basil Dean (Birkenhead, 18 March 1916Hambledon, 19 December 2013) was an English musicologist of the 20th century, most famous for his research on the life and works—in particular the operas and oratorios—of George Frideric Handel, as detailed in his book Handel's Dramatic Oratorios and Masques (1959). Dean was a son of the film and theatre producer Basil Dean.Sadie, Stanley. Winton (Basil) Dean.
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The text of Time Vindicated was published in quarto in 1623, soon after its performance, as was not uncommon with the Court masques of the era. The text was reprinted in the second folio collection of Jonson's works in 1641, and thereafter was included in the collected editions of the poet's works. Unusually, the masque was reprinted in a separate octavo edition in 1756.
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Leapman, pp. 300-2. The theme of the masque was relatively simple and straightforward: the spirits of Peace, Law, and Justice descend to honor the English monarchs. Yet the expression is complex, with seven changes of scene; at one point the moon sets in an open landscape and "Amphiluche," the harbinger of morning, rises in turn. There are no fewer than eight anti-masques.
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Jonson felt neglected by the new court. A decisive quarrel with Jones harmed his career as a writer of court masques, although he continued to entertain the court on an irregular basis. For his part, Charles displayed a certain degree of care for the great poet of his father's day: he increased Jonson's annual pension to £100 and included a tierce of wine and beer.
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As an actress, Dorion has performed in several television dramas and theatre productions, including L'Auberge du chien noir. Her performance in Amélie Nothomb's Fuels at the Théâtre du Trident, earned her the 2007 Prix Révélation of the Year Award at the Gala des Masques. She also performs slam poetry, has won several competitions, and has been a regular guest artist at the Francofolies de Montréal.
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Shortly after their performances, both 1631 masques, Callipolis and Chloridia, were published together in a quarto issued by the bookseller Thomas Walkley. (The 1631 quarto was dated "1630," since prior to 1751 England started the New Year on 25 March instead of 1 January. See: Old Style and New Style dates.) Callipolis was reprinted in the second folio collection of Jonson's works in 1641.
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The spa, named The Spa at Trump, opened in late March 2008. The spa offers gemstone-infused (diamond, ruby, or sapphire) oil massages, hydrating masques, exfoliating salts and the "Deluge shower". The spa features a health club with an indoor pool, eleven treatment rooms, a private couples treatment suite, Swiss shower, and saunas. The Citysearch editorial review described this as the "Bentley of hotel spas".
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The French royal family and courtiers "disported themselves in masques, ballets, allegorical dances, recitals, and opera and comedy", and a national musical printing house was established. In the Baroque-era, noted composers included Jean-Baptiste Lully, Jean-Philippe Rameau, and François Couperin. The Conservatoire de Musique de Paris was founded in 1795. By 1870, Paris had become an important centre for symphony, ballet and operatic music.
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From 1910, he produced a series of masques at Blickling Hall. In 1911, he directed an amateur production of The Countess Cathleen which was seen by Yeats; Yeats subsequently invited Monck to become temporary director of the Abbey Theatre while Yeats and the main company toured the United States. The same year, Monck formed a troupe of amateur players to produce mystery plays and morality plays.
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That same year he was elected Member of Parliament for Glamorgan. James continued bestowing favours throughout 1605, first making Philip a gentleman of the bedchamber and then creating him Baron Herbert of Shurland and Earl of Montgomery. In addition, James had Montgomery created MA during a visit of Oxford. In addition to hunting and hawking, during this period Montgomery regularly participated in tournaments and court masques.
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Attendance at the masque was highly coveted, and grew to be a bone of contention among the Court's foreign ambassadors – another element that would become typical of future masques. The competition was so intense that the French ambassador, the Comte de Beaumont, actually threatened to kill his Spanish counterpart De Tassis in the King's presence if he couldn't attend.Chambers, Vol. 3, pp. 280–1.
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The play's rejection by the Theatre Royal proved beneficial to Fielding because it allowed him to experiment with his plays in ways that would be unaccepted at larger locations.Rivero 1989 p. 23 This is not to say that the play was different from his first; The Temple Beau (1730), like Love in Several Masques (1728), exemplified Fielding's understanding of traditional Post-Restoration comedic form.Rivero 1989 pp.
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For example, Henry did not attend the mass, where his place was taken by Marguerite's brother Henry, Duke of Anjou. After a nuptial lunch, four days of balls, masques and banquets ensued. A painting by François Dubois, depicts Catherine de' Medici (rear left) standing over a heap of corpses during the St. Bartholomew's Day massacre. The body of Admiral Coligny is being thrown from a window.
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Other activities included participation in moot court, disputation, and masques. Plays written and performed in the Inns of Court include Gorboduc, Gismund of Salerne, and The Misfortunes of Arthur. An example of a famous masque put on by the Inns was James Shirley’s The Triumph of Peace. Shakespeare’s The Comedy of Errors and Twelfth Night were also performed here, although written for commercial theater.
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However, from the beginning Hejduk more or less chose his own direction. From the mid-1970s his work started to display an increasingly personal and narrative character. The mobile objects (and personages) in Hejduk’s masques and their virtual journeys, reveal the mobile character of architecture as a counterpart of the intrinsically nomadic nature of human life. Within his oeuvre, the Wall house II is an important reference and turning point.
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Despite subsequent historiographic interpretations, contemporaries do not point out any mutual dissatisfaction between future spouses.Boucher, Deux épouses et reines à la fin du XVIe siècle, pp. 21-22. Henry of Navarre and Margaret of Valois The controversial wedding took place on 18 August 1572 at Notre-Dame, Paris. After a nuptial lunch, four days of balls, masques and banquets ensued, only to be interrupted by the outbreak of violence in Paris.
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Shirley also dedicated his tragedy The Traitor to Newcastle upon its 1635 publication. The signs of Shirley's hand in The Country Captain are abundant and varied; they range from parallels of plot device and characterization to specific phrasings. For examples of the latter: The Country Captain employs the phrase "feather-footed Hours," which also occurs in two of Shirley's masques, The Triumph of Beauty and The Triumph of Peace.Forsythe, p. 401.
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Almost all of Saint-Victor's work consists of articles, the best known being the collection entitled Hommes et dieux (1867). His death interrupted the publication of Les Deux Masques, in which he intended to survey the whole of ancient and modern dramatic literature. Saint-Victor's critical faculty was considerable, though rather one-sided. He owed a good deal to Théophile Gautier, but his writing was more florid than Gautier's.
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Griaule, M. (1938) Masques dogons. Paris. Other oral histories place the origin of the Dogon to the west beyond the river Niger, or tell of the Dogon coming from the east. It is likely that the Dogon of today are descendants of several groups of diverse origin who migrated to escape Islamization.Morton, Robert (ed.) & Hollyman, Stephenie (photographs) & Walter E.A. van Beek (text) (2001) Dogon: Africa's people of the cliffs.
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Youga Dogorou is where the sacred Sigi festival—one of the most important Dogon religious festivals—takes place every 60 years. The long procession of the Sigi starts and ends in Youga Dogorou.Auzias, Dominique; Labourdette, Jean-Paul; Petit Futé, Mali 2012/2013 Petit Futé, p. 221, (retrieved March 13, 2020) Dolo, Sékou Ogobara, (cont. Catherine Clément, Dominique-Antoine Grisoni), La mère des masques: un Dogon raconte, Seuil (2002), p.
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The Masque of Queens, Celebrated From the House of Fame is one of the earlier works in the series of masques that Ben Jonson composed for the House of Stuart in the early 17th century. Performed at Whitehall Palace on 2 February 1609, it marks a notable development in the masque form, in that Jonson defines and elaborates the anti-masque for the first time in its pages.
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It was published in 1957, a time when many national liberation movements were active. Jean-Paul Sartre wrote the preface. The work is often read in conjunction with Frantz Fanon's Les damnés de la Terre (The Wretched of the Earth) and Peau noire, masques blancs (Black Skin, White Masks) and Aimé Césaire's Discourse on Colonialism. In October 2006, Memmi's follow-up to this work, entitled Decolonization and the Decolonized, was published.
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60 Fielding was concerned with the audience's reaction to his various scenes. This is internally reflected in the actions of the character Merital in Love in Several Masques in controlling the behaviour of Helen and that many of his characters believe that they are either actors or are performing on a stage. Also, this is a primary concern of Fielding's when he crafted his Scriblerian plays.Rivero 1989 p.
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19 Reading and how reading defines characters is a focus within many plays and in Fielding's later works. In Love in Several Masques, the character Wisemore focuses on classics but ignores contemporary society. Similarly, the character Wilding, in The Temple Beau, practices law but doesn't read at all. Reading is an outlet to understanding humanity, and Fielding uses his plays to inform an audience how to better understand humanity.
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The Nine Worthies were also a popular subject for masques in Renaissance Europe. In William Shakespeare's play Love's Labour's Lost the comic characters attempt to stage such a masque, but it descends into chaos. The list of Worthies actually named in the play include two not on the original list, Hercules and Pompey the Great. Alexander, Judah Maccabee, and Hector also appear on stage before the show collapses into complete disorder.
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Love in Several Masques is a traditional comic drama that incorporates morality. The theme of the play is the relationship of disguises and courtship with a discussion of the nature of love. Fielding focuses on men and how they deal with love and marriage. Also, the gentlemen must prove their worth before they can be justified in their marriage, which allows Fielding to describe the traits required in successful male suitors.
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Love in Several Masques resembles Congreve's use of plot and dialogue. In particular, Merital and Malvil resemble characters in The Old Batchelor and Rattle resembles the fop in Love for Love. However, parts of Love in Several Masque also resembles Molière's Les Femmes Savantes, Sganarelle and Le Misanthrope. There are also possible connections between the play and Farquhar's The Constant Couple and Etherege's She wou'd if she Cou'd.
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After his naval career, Sandwich turned his energy toward music. He became a great proponent of "ancient music" (defined by him as music more than two decades old). He was the patron of the Italian violinist Felice Giardini, and created a "Catch Club", where professional singers would sing "ancient" and modern catches, glees, and madrigals. He also put on performances of George Frideric Handel's oratorios, masques, and odes at his estate.
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In 1974, he was among Australia's first broadcasters in stereo FM radio, acting as compere on classical radio station 2MBS-FM on its first day of official broadcasting. In 1977, the Sydney Morning Herald described Maydwell as "a distinguished Australian musician". During his studies, he began experimenting with conducting Restoration masques and late Renaissance Italian madrigal. He was appointed to the Executive of the Australian Musicological Society in 1980.
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He briefly returned to Hawkwind for their Winter 1979 tour, but quit again during the recording sessions for the Levitation album. He auditioned one final time for the 1982 Choose Your Masques tour, but being rejected he chose to leave the music business. According to Hawkwind guitarist Dave Brock, in a 1984 taped interview for Tim Gadd's radio show 'Zooks', King left the band after 1979. King has two children.
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The Vision of the Twelve Goddesses was an early Jacobean era masque, written by Samuel Daniel and performed in the Great Hall of Hampton Court Palace on the evening of Sunday, 8 January 1604. One of the earliest of the Stuart Court masques,A masque for male courtiers was staged two days earlier, on 6 January 1604; the text has not survived. staged when the new dynasty had been in power less than a year and was closely engaged in peace negotiations with Spain,The masque's theme of peace celebrated the ceasefire with Spain, proclaimed by King James in March 1603, and reflected the intense peace negotiations which were to culminate in the Treaty of London at Somerset House in August 1604 and its ratification at Valladolid the following year. Present at the performance was the Spanish ambassador, the count of Villamediana, one of the Spanish negotiators of the treaty and a future writer of Spanish masques himself.
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At the end of the Late Middle Ages, professional actors began to appear in England and Europe. Richard III and Henry VII both maintained small companies of professional actors. Their plays were performed in the Great Hall of a nobleman's residence, often with a raised platform at one end for the audience and a "screen" at the other for the actors. Also important were Mummers' plays, performed during the Christmas season, and court masques.
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A 1677 map of Gray's Inn at Holborn. At the start of the Caroline era, when Charles I came to the throne, the Inn continued to prosper. Over 100 students were admitted to the Inn each year, and except during the plague of 1636 the legal education of students continued.Fletcher (1901) p. xliii Masques continued to be held, including one in 1634 organised by all four Inns that cost £21,000—approximately £ in terms.
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Thomas Kyd is frequently proposed as the author of the hypothetical Ur-Hamlet that may have been one of Shakespeare's primary sources for Hamlet. George Chapman (?1559-?1634) was a successful playwright who produced comedies (his collaboration on Eastward Hoe led to his brief imprisonment in 1605 as it offended the King with its anti- Scottish sentiment), tragedies (most notably Bussy D'Ambois) and court masques (The Memorable Masque of the Middle Temple and Lincoln's Inn).
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In the production of Townshend's masque, a young Thomas Killigrew, then a page to the King, appeared in the role of "a Fugitive Favourite."Britland, p. 91. In Townshend's version as in the French work, Circe is enraged at the escape of one of her captive lovers, who has run to the Vale of Tempe. Circe dominates the first part of the performance, which features anti-masques danced by American Indian, barbarian, and animal figures.
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It developed partly from the 16th century commedia dell'arte tradition of Italy, as well as other European and British stage traditions, such as 17th-century masques and music hall. An important part of the pantomime, until the late 19th century, was the harlequinade."The History of Pantomime", It's-Behind-You.com, 2002, accessed 10 February 2013 Outside Britain the word "pantomime" is usually used to mean miming, rather than the theatrical form discussed here.
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Unlike many of the court masques of the early Stuart era, Montagu's text was not published soon after its staging. It was entered into the Stationers' Register on 27 September 1658, and appeared in an octavo edition in 1659. The first edition is bibliographically confusing, with alternate title pages that credit the book either to the stationer Thomas Dring or to John Starkey; the prose Introduction is signed "T. D.," probably indicating Dring.
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The repertoire followed that in London and there were no new Scottish plays after Tarugo's Wiles. The Duke of Albany brought with him a company of actors when he was resident at Holyrood as commissioner. He was also joined by a group of Irish players, who brought their own costumes. He encouraged court masques and seasons of plays at the Tennis Court Theatre, one of which included Princess Anne, the future Queen Anne.
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Babinski lived with his younger brother, Henri Babinski, a distinguished engineer and famous cook who, as "Ali Baba," published a classic cookbook. With Pierre Palau, Babinski, under the pseudonym "Olaf," wrote a disturbing play, Les détraquées, which premiered at the Deux-Masques theater in 1921. The play involves the murder of a young pupil at a girls' school by the school's principal and her accomplice, a dance teacher. André Breton discusses the work in Nadja.
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Mr. Ferguson's play is subsequently nominated as Best New Québec Text at the 2002 Soirée des Masques. March 2003 With the American forces invading Iraq, a contemporary anti-war version of Richard III is produced by Manitoba Theatre Centre. The artistic concept for the production had its genesis in a series of workshops staged at Infinithéâtre. Nine of Infinithéâtre's actors and the American movie star William Hurt travel to Winnipeg for the show.
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But it is by creating and presenting programs specialized in interviews in an intimate way, with well-known or anonymous persons, that Mireille Dumas became one of the emblematic figures of the French audiovisual field. Starting in September 1992, Bas les masques is one of these first programs, but had to be interrupted soon after. In addition, Mireille Dumas then presented La Vie à l'endroit from 1997 to 2000 on France 2.
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The genre was further developed by Thomas Campion (1567–1620), whose Books of Airs (1601) (co-written with Philip Rosseter) containing over one hundred lute songs and which was reprinted four times in the 1610s.C. MacClintock, Readings in the history of music in performance (Bloomington, IN: Indiana University Press, 1982), p. 194. Although this printing boom died out in the 1620s ayres continued to be written and performed and were often incorporated into court masques.
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86 ff. Other lyrics were written for masques, including the sonnet "Seated between the old world and the new" in praise of the queen as the moral power linking Europe and America, who supports "the world oppressed" like the mythical Atlas. During his disgrace he also wrote several bitter and pessimistic verses. His longest poem, "The Passion of a Discontented Mind" (beginning "From silent night..."), is a penitential lament, probably written while imprisoned awaiting execution.
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He translated work from Latin to English and then began to publish his own prose and verse. In 1603 he was given a royal appointment and produced a series of masques. In the early 17th century he associated with other well known writers of the time before retiring to the village of Beckington in Somerset. His work and particularly the format he adopted for sonnets, was referred to and emulated by later writers.
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At the end of the Late Middle Ages, professional actors began to appear in England and Europe. Richard III and Henry VII both maintained small companies of professional actors. Their plays were performed in the Great Hall of a nobleman's residence, often with a raised platform at one end for the audience and a "screen" at the other for the actors. Also important were Mummers' plays, performed during the Christmas season, and court masques.
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At the same time, the French masque was gaining a firm hold at the English Court, with even more lavish splendour and highly realistic scenery than had been seen before. Inigo Jones became the quintessential designer of these productions, and this style was to dominate the English stage for three centuries. These masques contained songs and dances. In Ben Jonson's Lovers Made Men (1617), "the whole masque was sung after the Italian manner, stilo recitativo".
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Portrait of Paul Gavarni, a year before his death, by his son Pierre Gavarni visited England in 1849. On his return his impressions were published in the book Londres et les Anglais, illustrés par Gavarni (1862) by Émile de la Bédollière.Londres et les Anglais (1862) Gustav Barba, Paris Most of these last compositions appeared in the weekly paper L'Illustration. In 1857 he published in one volume the series entitled Masques et visages (1 vol.
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MSTRKRFT : Al-P (right) and Jesse F. Keeler Alex Puodziukas known by his stage name Al-P, is a Canadian musician, record producer and recording engineer, best known for being part of the electronic music duo MSTRKRFT along with Jesse F. Keeler. Al-P was producer for Black Cat 13, Death from Above's album You're a Woman, I'm a MachineMartel, Stéphane (July 20, 2006). "MSTRKRFT: Que tombent les masques ", Voir. Retrieved on 2009-07-02.
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10 Regardless, there are similarities between the characters in Love in Several Masques and Cibber and Vanbrugh's The Provoked Husband. In particular, Fielding's Lady Matchless resembles the character Lady Townly.Fielding 2004 p. 5 The play was traditionally believed by critics to be modelled after the plays of Congreve, with those in the eighteenth century, like Arthur Murphy, to those in the twentieth century, like Wilbur Cross, arguing in support of a connection.
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Pantomime has a long theatrical history in Western culture dating back to classical theatre. It developed partly from the 16th century commedia dell'arte tradition of Italy and other European and British stage traditions, such as 17th-century masques and music hall. An important part of the pantomime, until the late 19th century, was the harlequinade. Outside Britain, the word "pantomime" is often understood to mean miming, rather than the theatrical form discussed here.
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Under James I the theatre, which established itself so firmly in the latter years of Elizabeth, grew further in popularity. The performances at the public theatres were complemented by elaborate masques at the royal court and at the inns of court. At this time the City of London was becoming the world's leading financial centre, superseding Amsterdam in primacy. The Bank of England was founded in 1694, and the British East India Company was expanding its influence.
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Dwarves were not rare in the courts of Europe but Hudson's fine proportions and tiny size made him uniquely famous. His size was repeatedly described as 18 or 19 inches and he is reported to have grown little between 7 and 30 years of age. He was often cast in picturesque roles in the elaborate costumed masques which were staged by Inigo Jones for the amusement of the court. Hudson rode a horse with the queen and her household.
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Hagerman suggests that Wroth created a courtly persona for herself in these masques and that the themes of this persona are themes in Pamphilia to Amphilanthus. One idea of Wroth's courtly persona was darkness, probably stemming from her reputation of seriousness. The theme of dark versus light is explored in Sonnet 22 and is representative of her uncertainty of whether she wants her desires for Amphilanthus to be fulfilled or not, because either way will prove "torturous".Hagerman, Anita.
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The Bird in a Cage also has some bearing on the question of women onstage. Women did not act on public stages prior to the Restoration; but aristocratic women did appear and dance in masques. And in January 1633, the Queen and her ladies had performed speaking parts in Walter Montagu's masque The Shepherd's Paradise. The Bird in a Cage includes a masque about Jupiter and Danaë, performed by Eugenia and her waiting women in their confinement.
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After Chloridia in February 1631, Jonson no longer received commissions for masques from the Stuart Court; in his long battle of egos with Inigo Jones, Jones had finally won and Jonson had lost. In September of the same year, Jonson had also lost his post as the chronologer of the city of London. The Duke of Newcastle, who had an established relationship with Jonson, stepped in to support the poet laureate in his time of need.Perry, pp.
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After his Paris debut at the Opéra-Comique as Pelléas on 20 April 1941, Jansen also appeared as a singer in Fauré's Masques et bergamasques (January 1942), Valérien in Malvina (July 1945) and the title role in Fragonard (February 1946).Wolff S. Un demi-siècle d'Opéra-Comique (1900–1950). André Bonne, Paris, 1953. Jansen recorded Pelléas in an Opéra- Comique cast under the conductor Roger Désormière in April and May 1941 with Irène Joachim as Mélisande.
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Camille Mauclair by Félix Vallotton, which appeared in Le Livre des masques by Remy de Gourmont (vol. II, 1898).) Séverin Faust (December 29, 1872, Paris – April 23, 1945), better known by his pseudonym Camille Mauclair, was a French poet, novelist, biographer, travel writer, and art critic. Mauclair was a great admirer of Stéphane Mallarmé, to whom he dedicated several works, and of Maurice Maeterlinck.Bertrand Marchal (1998), Mallarmé, Presses Paris Sorbonne He was initially a poet and novelist.
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There was also a hood of red and white taffeta, sewn with "shakers". Servais' wife had taken two of these coats, one of red, the other of black chamlet, possibly as gifts from the queen. This inventory may represent the costume from several masques, which involved pairs of dancers, and larger groups, dressed alike in teams.HMC 6th Report: Earl of Moray (London, 1877), p. 672: Joseph Robertson, Inventaires de la Royne Descosse (Edinburgh, 1863), pp. 185-6.
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In 1633, John Milton, Sr. became warden for the Chapel of St Paul. He continued his job as a scrivener until 1636, when he left the Company of Scriveners's Court of Assistants and he moved his family from Hammersmith to Horton.Campbell 2003, p. 487. While not working as a scrivener, John Milton, Sr. composed music, which brought him into a close relationship with other musicians and composers including Henry Lawes, who proved influential in commissioning the young Milton's masques.
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The youthful portrait of Dick Leveridge, c. 1710–1720 Leveridge continued to sing Purcell's operas and masques in the revivals, at Drury Lane in 1703–08, of The Fairy-Queen, Timon of Athens, Amphitrion, Libertine Destroyed, Tempest, King Arthur, Indian Queen, and Œdipus.L.M. Middleton, 'Leveridge, Richard', Old D.N.B. He also participated in the introduction of opera in the Italian style from 1705, appearing in Arsinoë (1705), Camilla (1706), Rosamond (1707), Thomyris (1707), and Love's Triumph (1708).
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Thomas Augustine Arne By 1736, Young was romantically involved with composer Thomas Arne. Her father, however, was opposed to their marrying as Arne was a Roman Catholic and did not follow the teachings of the Church of England. Against her father's will, Young married Arne on 15 March 1737. After their marriage, she appeared in several of her husband's stage productions including the immensely popular masques Comus (1738), Alfred (1740), and The Judgement of Paris (1742).
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The Entertainment at Althorp, or The Althorp Entertainment, is an early Jacobean era literary work, written by Ben Jonson. It is also known by the alternative title The Satyr. The work marked a major development in Jonson's career, as the first of many entertainments and masques that he would write for the Stuart Court. The entertainment was designed to welcome the members of the new royal family to England during their progress from Edinburgh to London.
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How were such effects produced, and how did they look? The crocodile etc. obviously used the floor trap, but was it an illusionistically painted figure worked with sticks, or a man in a crocodile suit? There are no extant drawings or descriptions of machinery and sets for the Restoration theatre, although some documentation exists for court masques from the first half of the 17th century, notably the work of Inigo Jones and his pupil John Webb.
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The group's leader, Pierre Baptiste Le Moyne, Sieur d'Iberville dubbed the spot La Pointe du Mardi Gras. Three hundred years later, the Rex organization put a marker at the site. An account from 1743 notes that the custom of holding Carnival balls was established by that date, during the time when Bienville was governor. On Mardi Gras, there were masques and processions in the streets of the city, although they were, at times, prohibited by law.
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A view of Rhodes, designed by Inigo Jones' pupil John Webb, to be painted on a backdrop for the first performance of Davenant's opera The Siege of Rhodes "in recitative music" in 1656. In the early 17th century, moveable "scenes"—painted wings and backdrops—and technical "machines" or "devices" for flying and other special effects were used in the masques produced for and by the court of Charles I. In William Davenant's Salmacida Spolia (1640), for instance, the last of the court masques before the Civil War, Queen Henrietta Maria (pregnant at the time) makes her entrance "descending by a theatrical device from a cloud." As early as 1639, Davenant had obtained a royal patent authorising construction of a large new public theatre with technology that would allow such effects and accommodate music, scenery, and dancing. Such an invasion of court-drama technique in the public theatre met opposition from "legitimate" dramatists, and before the opposition could be overcome, the war had closed down the theatres in 1642.
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He is also noted for his design of the Martial et Armand logo c. 1923. His illustrated books include Voltaire (Candide, 1933), Charles Perrault (Contes du temps jadis, 1912), Musset (La Nuit vénitienne), Goethe, Diderot (Les Bijoux indiscrets, etc.), Les Masques et les personnages de la Comédie italienne, 1914; Phili ou Par delà le bien et le mal, 1921; Le Radjah de Mazulipatam, 1925; Le Malheureux Petit Voyage, 1926; and Les Aventures du roi Pausole, 1930. Umberto Brunelleschi died 1949 in Paris, France.
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Queen Catherine as St Catherine of Alexandria, by Jacob Huysmans Although her difficulties with the English language persisted, as time went on, the once rigidly formal Portuguese Infanta mellowed and began to enjoy some of the more innocent pleasures of the court. She loved to play cards and shocked devout Protestants by playing on Sundays. She enjoyed dancing and took great delight in organising masques. She had a great love for the countryside and picnics; fishing and archery were also favourite pastimes.
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"'But Worth pretends': Discovering Jonsonian Masque in Lady Mary Wroth's Pamphilia to Amphilanthus". Early Modern Literary Studies 6.3 (January 2001): 4.1-17 The idea of theatricality influences the way this poem is interpreted. Because it is understood that Wroth is talking about her experience in a theatrical performance, the theme of the artificial aspect of the masque performance needs to be taken into account. To understand this sonnet, we must understand how Wroth felt about taking part in courtly masques.
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At Drayton they visited their grandmother Lady Leicester, who favored having masques (plays) for their entertainment. Other pastimes included hunting, and games such as chess or catastrophe. When Essex set out with the English Expeditionary Force to the Low Countries in August 1624, Walter accompanied him as a captain of the foot in Essex's regiment. He remained with Essex through the Winter at the Siege of Breda and shared the hardships and hand-to- hand combat occurring at the close of this action.
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After personnel changes in 1973 this band became "Sun Treader" (or "Suntreader") and recorded two albums. In 1977 Pert joined the jazz-rock band Brand X for their second album, composing three numbers for their Masques album. He stayed with the band, touring extensively, until 1979. As a session musician he played with many musicians, including Paul McCartney, Andrew Lloyd Webber, John Williams, Kate Bush, Mike Oldfield, Sally Oldfield, Peter Gabriel, Peter Hammill, Jon Anderson, Elvis Costello, Bryan Ferry and Talk Talk.
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Stephen Orgel, Ben Jonson: The Complete Masques (Yale, 1969), p. 57. She also danced in Hymenaei on 5 January 1606 as one of the eight faculties of Juno, who descended from the roof of the old banqueting house in two mechanical clouds, a masque written by Ben Jonson for the marriage of Robert Devereux, 3rd Earl of Essex and her sister Lady Frances Howard.Martin Wiggins & Catherine Richardson, British Drama, 1533-1642: A Catalogue, vol. 5 (Oxford, 2015), pp. 263-7.
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Lewalski 2003 p. 103. Commemorative blue plaque 'John Milton lived here 1632–1638' at Berkyn Manor Farm, Horton, Berkshire Milton continued to write poetry during this period of study; his Arcades and Comus were both commissioned for masques composed for noble patrons, connections of the Egerton family, and performed in 1632 and 1634 respectively. Comus argues for the virtuousness of temperance and chastity. He contributed his pastoral elegy Lycidas to a memorial collection for one of his fellow-students at Cambridge.
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In 2003 he received a lifetime achievement award from the Horror Writers of America. He edited the critically acclaimed How to Write Tales of Horror, Fantasy & Science Fiction (1987) which covered the themes of such writing and cited the writings of such writers as Robert Bloch, Lee Prosser, Richard Matheson, Ray Bradbury, H. P. Lovecraft, August Derleth, William F. Nolan, and Stephen King. Many important writers in the genre contributed to the book. Williamson edited the popular anthology series, Masques.
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Together, the two productions lasted approximately five hours. Thomas Wood Stevens, a nationally recognized master of modern American pageantry, wrote and directed the Pageant portion of the event. Beginning in 1909 Stevens wrote and/or directed over 50 pageants and masques in 20 states and in Europe. Artist/director Joseph Lindon Smith and Percy MacKaye, a playwright and poet, collaborated on the "masque" segment of the program, fashioning a symbolic sweep through St. Louis history told in pantomime and dance.
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"Silver Machine" and "Psychedelic Warlords" are re-recordings of the early 1970s singles which were not originally intended for inclusion on the album. The group undertook a 29-date UK tour in November and December to promote the album, with support from the Spanish rock group Barón Rojo. Saxophonist and singer Nik Turner rejoined the group for this tour. Recordings from this tour have been issued on the albums Zones (1983), Out & Intake (1987) and Choose Your Masques: Collectors Series Volume 2 (1999).
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The masque tradition developed from the elaborate pageants and courtly shows of ducal Burgundy in the late Middle Ages. Masques were typically a complimentary offering to the prince among his guests and might combine pastoral settings, mythological fable, and the dramatic elements of ethical debate. There would invariably be some political and social application of the allegory. Such pageants often celebrated a birth, marriage, change of ruler or a Royal Entry and invariably ended with a tableau of bliss and concord.
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Masque imagery tended to be drawn from Classical rather than Christian sources, and the artifice was part of the Grand dance. Masque thus lent itself to Mannerist treatment in the hands of master designers like Giulio Romano or Inigo Jones. The New Historians, in works like the essays of Bevington and Holbrook's The Politics of the Stuart Court Masque (1998),David Bevington and Peter Holbrook, editors, The Politics of the Stuart Court Masque 1998 ). have pointed out the political subtext of masques.
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Cohen's work was representational and figurative, owing most to Raoul Dufy, Bonnard, Marc Chagall, Oskar Kokoschka, Georges Rouault and Chaim Soutine. His favourite subjects were ports and river banks, vibrant flower compositions and searching portraits. . In the 1950s Cohen staged one-man exhibitions in Germany and Paris. French critics described him as an 'intimist', 'ranking among our best painters',Masques et Visages, 1958; clipping in the Archive of the Alfred Cohen Art Foundation and hailing his paintings as 'good, direct and natural'.
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Brønnum House The building is four storeys high and consists of four bays on Tordenskjoldsgade, a three-bay rounded corner and a half bay that connects the building to Harsdorff's House on Kongens Nytorv. The building surrounds three sides of a small courtyard which is closed to the south by a fire wall. The external façade has rustication on the ground floor and rich stucco decorations on the upper floors. The keystones of the rounded openings are designed as grotesque masques.
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In 1603 de Critz was appointed Serjeant Painter to the king. De Critz's duties as the Serjeant Painter entailed making portraits, the restoration of the decorative detail, the painting and guilding of royal coaches and barges, and individual tasks such as painting the signs and letters on a royal sun-dial.William Gaunt, Court Painting in England from Tudor to Victorian Times, London: Constable, 1980, ; p 53. He also painted "bravely" for court masques and dramatic spectaculars which required elaborate scenery and scenic effects.
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Bacon also paid for and helped write speeches for a number of entertainments, including masques and dumbshows, although he is not known to have authored a play. His only attributed verse consists of seven metrical psalters, following Sternhold and Hopkins.. Since Bacon was knowledgeable about ciphers,. early Baconians suspected that he left his signature encrypted in the Shakespeare canon. In the late 19th and early 20th centuries many Baconians claimed to have discovered ciphers throughout the works supporting Bacon as the true author.
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See also: A Tale of a Tub; Love's Welcome at Bolsover. Since Jonson arranged for the publication of the texts of his masques, his name always preceded Jones's in these volumes; but when Choridia was published together with Callipolis, in a 1631 quarto issued by the bookseller Thomas Walkley,The 1631 quarto was dated "1630," since prior to 1751 the English began the New Year on 25 March, not 1 January. See: Old Style and New Style dates. Jones's name was omitted entirely.
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Bernadette Lafont had her debut in Les Mistons ("The Mischief Makers") in 1958 and became part of the Nouvelle Vague in the 1960s because of her films with François Truffaut and Claude Chabrol. In 1986 Lafont was awarded a César Award for Best Actress in a Supporting Role for An Impudent Girl (L'Effrontée). In the following year, she was again nominated, this time for Masques. For her long service to the French motion picture industry, she was awarded an Honorary César in 2003 .
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10–14 Most of the information on the play and its run is known because of Fielding's preface in the printed edition of the play. The printed Love in Several Masques is dedicated "To the Right Honourable the Lady Mary Wortley Montague", his cousin. It is probable that she read the original draft of the play, which is alluded to in the dedication.Hume 1988 pp. 29–30 Information on her reading the draft comes from a letter written in approximately September 1727.
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Prior to colonisation, written literature was virtually absent in Burkina Faso, like much of Africa. The oral tradition has always been important to the many ethnic groups, sustaining the cultural diversity of the country. Culture has been transmitted orally through music and dance. This has been described by Titinga Frédéric Pacéré in his 1992 book Le langage des tam-tams et des masques Afrique, emphasising the importance in many of Burkina Faso's ethnic groups of griots, and the older members of the communities.
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The result was a revitalisation of all Scottish universities, which were now producing a quality of education the equal of that offered anywhere in Europe.J. Wormald, Court, Kirk, and Community: Scotland, 1470–1625 (Edinburgh: Edinburgh University Press, 1991), , pp. 183–4. Major intellectual figures in the Reformation included George Buchanan. He taught in universities in France and Portugal, translated texts from Greek into Latin, and was tutor to the young Mary, Queen of Scots for whom he wrote Latin courtly poetry and masques.
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Thomas Middleton, depicted in the frontispiece of Two New Plays, a 1657 edition of Women Beware Women and More Dissemblers Besides Women Thomas Middleton (baptised 18 April 1580 – July 1627; also spelled Midleton) was an English Jacobean playwright and poet. Middleton, along with John Fletcher and Ben Jonson, was among the most successful and prolific of the playwrights at work in the Jacobean period. He was among the few to achieve equal success in comedy and tragedy. He was a prolific writer of masques and pageants.
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Innovative lighting effects continued through the work: it concluded with an "aerial ballet" in which Henrietta Maria, portraying the "Earthly Deity," descended from the clouds in "a glory of rays, expressing her to be the queen of brightness."Leapman, pp. 321-2. The sheer abundance of illumination forced a change of venue for the masque's performance. Masques were usually staged in the Banqueting House at Whitehall Palace--but it was feared that the new Rubens murals on the ceiling there would be damaged by candle soot.
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Under his leadership the orchestra significantly expanded its repertoire. For the SSQ's 25th anniversary concert in May 1928 he led the ensemble in its first complete presentation of Ludwig van Beethoven's Symphony No. 5. He also added Johannes Brahms's Symphony No. 3, Antonín Dvořák's New World Symphony, Gabriel Fauré's Masques et bergamasques, César Franck's Symphony in D minor, Pyotr Ilyich Tchaikovsky's The Nutcracker, and Richard Wagner's Prelude from Die Meistersinger von Nürnberg among many other major works. In 1931 he conducted the orchestra's radio debut.
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1979 Between March 1 and 24 exhibited his works at Gallery Maître Albert, Paris. In the same city exhibited prints, drawings and paintings Forum, Galerie d'Art, between March 7 and April 7. He cast the medal 'Du Jeu des Masques' -bronze, 170 x 93 mm- for Grandes Fontes Series, published in the Bulletin Le Club Français de la Médaille No. 65 - Monnaie de Paris. 1980 Between February 7 and March 4 his drawings were presented in the exhibition organized at Galerie Valmay of Paris.
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Saga of Hawkwind, Carol Clerk, Publisher: Music Sales Limited, In 1982 during the recording of Choose Your Masques, Brock invited Turner to the recording sessions and he was asked to front the band for the album's tour. Turner's second stint in the band lasted just over 2 years and although some live albums and videos were released, the band did not undertake any studio recording. At the end of 1984 while preparing material for The Chronicle of the Black Sword album, he was sacked once again.
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In its earlier years, it used a variety of popular light classics as signature tunes, including such pieces as H. Elliott-Smith's Wanderlust (Waltz), Anthony Collins' Vanity Fair, and the lively Overture from Gabriel Fauré's Masques et Bergamasques. From the early 1970s, specially composed pieces were used, several of which were provided by the BBC Radiophonic Workshop. There is also a band called Woman's Hour, based in the UK and signed to the record label Secretly Canadian. records who took their name from the radio show.
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Then he was employed again as a court musician, among others, at the performances of the masques The Triumph of Peace (1634) by James Shirley and William Davenant's Britannia triumphans (1637). In April 1645 Constantijn Huygens was trying to obtain a nine rib Laux Maler lute to accompany singing. Gaultier said there were only fifty extant, six in London, all of medium size and not suitable to accompany a singer. Soon after Gaultier found one of the larger size, recently rebuilt in London by a Master Nichols.
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Despite its evanescent surface appearance (one commentator has called the work "a masque about masques"),Mary Chan, Music in the Theatre of Ben Jonson. Oxford, Clarendon Press, 1980; p. 276. Jonson's text is not without intellectual weight; Jonson based his masque on traditional dream theory, relying most likely on the Commentarii in Somnium Scipionis, Macrobius's study of the Dream of Scipio by Cicero. Jonson treats the audience of the performance as an assemblage of dreamers, and through his masque illustrates Macrobius's categories of dreams.
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With the restoration of the monarchy in 1661, John Ogilby was commissioned to design the triumphal arches and write masques for the new king's entrance into London. Ogilby was reinstated as Master of the Revels and returned to Dublin to open a new theatre in Smock Alley. Although starting well, this new theatre was essentially under the control of the administration in Dublin Castle and staged mainly pro-Stuart works and Shakespearean classics. As a result, Irish playwrights and actors of real talent were drawn to London.
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Francis Rapp writes that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things." This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of costumes worn during Allhallowtide.
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This was an insult that the very well-connected Jones was not prepared to swallow; he used his powerful Court connections to ensure that Jonson was never invited to write another masque for the Stuart Court. (Jonson's final two masques, The King's Entertainment at Welbeck and Love's Welcome at Bolsover of 1633 and 1634, were written for William Cavendish, 1st Duke of Newcastle.) When Chloridia was reprinted in the second folio collection of Jonson's works in 1641 (four years after Jonson's death), Jones was appropriately credited.
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Educated at Oxford, Arkwright was the editor of "The Old English Edition", containing masques, ballets, motets, madrigals, etc., by English composers of the 17th and 18th centuries, and published in 25 volumes between 1889 and 1902. He was the founding editor of "The Musical Antiquary", published quarterly from 1909 to 1913 and also edited church music of Henry Purcell in the Purcell Society's edition published between 1889 and 1902.Saerchinger, César (1918) "International Who's who in Music and Musical Gazetteer" New York: Current Literature Publishing Company, 25.
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The Beck Center was originally named the "Guild of the Masques" when it was founded by Richard Kay in 1929; formally incorporating as the Lakewood Little Theatre in 1933. The group moved onto its current site in Lakewood, Ohio in a theater originally designed for the movies, the Lucier, in 1938. They redesigned the interior space for live plays and purchased the building in 1943. In the following decades, the group bought up contiguous land, and, in 1972 began a capital campaign to build a new center.
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St Paul's Churchyard was the centre of the book trade and Fleet Street was a centre of public entertainment. Under James I the theatre, which established itself so firmly in the latter years of Elizabeth, grew further in popularity. The performances at the public theatres were complemented by elaborate masques at the royal court and at the inns of court.Michael Berlin, "Civic ceremony in early modern London." Urban History 13 (1986): 15-27.. "Civic ceremony in early modern London." Urban History (1986) 13#1 pp: 15-27.
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A 1596 sketch of a performance in progress on the thrust stage of The Swan, a typical Elizabethan open-roof playhouse. Renaissance theatre derived from several medieval theatre traditions, such as, the mystery plays that formed a part of religious festivals in England and other parts of Europe during the Middle Ages. Other sources include the "morality plays" and the "University drama" that attempted to recreate Athenian tragedy. The Italian tradition of Commedia dell'arte, as well as the elaborate masques frequently presented at court, also contributed to the shaping of public theatre.
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Following the succession crisis of 1788 when King George III was struck down by porphyria, Payne was an active supporter of the Prince of Wales's regency. Payne corresponded closely with other supporters but also participated in the Prince's frequent and extravagant masques and entertainments. He also helped conspire in the Prince's illegal marriage to Maria Fitzherbert and was once rebuked by the Duchess of Gordon in the terms "You little, insignificant, good-for-nothing, upstart, pert chattering puppy" after being overheard making insulting comments about the Queen, Charlotte of Mecklenburg-Strelitz.
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His sculpted, papier-mâché face masks were used in plays and dances and often in his own paintings and illustrations. They were used in masques or miracle plays in New York City at venues like the New York Coffee House. Benda also created the masks for stage productions in New York and London for such writers as Eugene O'Neill and Noël Coward. He became so well known as a mask maker that his name became synonymous for any lifelike mask, whether it was of his design or not.
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His most famous airs include "Come again", "Flow, my tears", "I saw my Lady weepe", and "In darkness let me dwell". The genre was further developed by Thomas Campion (1567–1620) whose Books of Airs (1601) (co-written with Philip Rosseter) contains over 100 lute songs and was reprinted four times in the 1610s.C. MacClintock, Readings in the history of music in performance, Indiana University Press, 1982, p. 194. Although this printing boom died out in the 1620s, ayres continued to be written and performed and were often incorporated into court masques. (p. 309).
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She has also appeared in the television series Les Masques, Catherine, François en série, Musée Eden and Mémoires vives, and the films Congorama, Monsieur Lazhar, Tuktuq, Fake Tattoos, Les Salopes, or the Naturally Wanton Pleasure of Skin and Before We Explode (Avant qu'on explose). She directed the 2012 documentary film Over My Dead Body, which was shortlisted for the Canadian Screen Award for Best Feature Length Documentary at the 1st Canadian Screen Awards in 2012."Brigitte Poupart aux Rendez-vous du cinéma québécois - D'urgence et d'amitié". Le Devoir, February 24, 2012.
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On 27 February 1625, she was married to Robert Dormer, 1st Earl of Carnarvon, a match which secured her future, as Dormer was one of the wealthiest men in England at the time. The Countess of Carnarvon and her husband were regular performers in masques at court. He was an ardent Royalist and defied his father-in-law in fighting for King Charles I in the English Civil War. Their son Charles Dormer, 2nd Earl of Carnarvon was born on 25 October 1632, and baptised in St Benet's in London.
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In the single excerpt containing his voice, Salignac can be heard along with Marcella Sembrich in a portion of the love duet from Donizetti's La Fille du régiment, under the direction of Philippe Flon, during the performance given on 30 January 1903. With Louis Merlet, Salignac composed with four hands the libretto of an opera put to music by Louis Merlet. Albert Wolff: Le Marchand de masques, lyrical drama in two acts. The work was premiered in 1914 at the casino municipal de Nice and its booklet published in Paris by Enoch.
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Queen Elizabeth planned a masque for her ambassador to present at Anne of Denmark's arrival. The English ambassador's masque would have comprised: six dancers wearing swords or falchions with helmets dressed with feather plumes, presumably representing classical warriors; six masked torch bearers with hats with feathers, their costumes party-coloured in the Stewart colours red and yellow; four speaking parts wearing wigs and flower chaplets. Only the account for making the costumes is known, and the subject of the masque was not recorded.Henry Morley, Masques and Entertainments by Ben Jonson (London, 1890), pp.
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Unusually, Masques introduced no new keyword abilities to the game. However it was advertised as introducing new creature types, which were continued throughout the cycle: Two of these types were rebels and mercenaries, creatures able to search through their controller's library and "recruit" creatures of a specific type directly into play. Another type was spellshapers, creatures that had repeatable activated abilities that mimicked various classic spells, potentially turning otherwise useless cards into powerful effects. All of Masques's spellshapers required paying mana, tapping the creature and discarding a card to use their ability.
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The first gate to be encountered entering the city center from the southeast is Porta Rospigliosi, decorated with bas-reliefs in the 16th century and Roman busts and theatrical masques. The other gate, at the northwest entrance to the city is Porta San Martino, named in honour of Pope Martin V (Oddone Colonna). The Zagarolo Toy Museum is located in Rospigliosi Palace. The Museum offers a social reconstruction of toys and the act of playing in a series of sections that, through a historic excursus, crosses the fundamental periods of the 20th century.
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Beeston was able to organise a new version of Beeston's Boys at the start of the Restoration era; but the company lasted only for a few years; it was squeezed out of existence by the reigning "duopoly" of the King's Company and Duke's Company. As for William Beeston's legacy: he may have been the first manager in the public theatreThat is, excluding the special case of the Stuart court masques, in which scenery was employed. of his era to use scenery.Martin Butler, "The condition of the theatres in 1642," in Milling and Thomson, p. 450.
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"A Long Way From Home", Black Plays Archive, National Theatre. Ajibade also worked in Ibadan during the late 1970s,"My Happiest Moment In Acting" – interview with Olu Jacobs, Naijarules.com. as a writer and director (1976–79) with the Unibadan Masques, the University of Ibadan's School of Drama acting company.Review of Ade-Yemi Ajibade, Fingers Only and A Man Names Mokai and Parcel Post and Behind the Mountain (Ibadan: Y-Book Drama series, 2001), in Ernest Nneji Emenyonu (ed.), New Directions in African Literature: A Review, 25; p. 161.
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The same system of professional companies of players and theatres that developed in England in this period was absent in Scotland, but James VI signalled his interest in drama by arranging for a company of English players led by Lawrence Fletcher and Martin Slater to erect a playhouse and perform in 1599.Carpenter, 2011, p. 21. James VI and Anne of Denmark performed in masques at the weddings of courtiers and wore specially made costumes.Michael Pearce, 'Anna of Denmark: Fashioning a Danish Court in Scotland', The Court Historian, 24:2 (2019), p. 149.
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The original vocal music (the dance music is not extant), in a baroque style, was composed by Henry Lawes, who also played the part of The Attendant Spirit. Generally, masques were not dramas; they could be viewed as pre-figuring the recitative of opera. In 1745 George Frideric Handel composed three songs and a trio as part of a private arrangement of the masque which was first performed, in June 1745, also at Ludlow Castle. Scenes from Comus for vocal soloists and orchestra is one of the best-known works of composer Hugh Wood (1932– ).
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Sara Jayne Steen, The letters of Lady Arbella Stuart (Oxford, 1994), p. 197. She participated in the masques organised by queen Anne, and played the role of Astraea in The Vision of the Twelve Goddesses (1604), and Periphere in Masque of Blackness (1605). In May 1606 she was paid £300 towards the supply of linen for Anne of Denmark during childbed and for the use of Princess Mary.Frederick Madden, Issues of the Exchequer (London, 1836), pp. 34-5. One of her servants died at Hampton Court in October 1606 during plague scare.
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In 1981, the testimony collected by Jean-Pierre Joecker (director and founder of the gay magazine Masques) was published anonymously in a special edition of the French translation of the play Bent by Martin Sherman. In April 1982, in response to anti-gay declarations and actions by Léon Elchinger, the Bishop of Strasbourg, Seel spoke publicly and wrote an open letter to the Bishop on 18 November. He simultaneously circulated the text to his family. The letter was published in Gai Pied Hebdo No 47 on 11 December.
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258 Fauré's best-known orchestral works are the suites Masques et bergamasques (based on music for a dramatic entertainment, or divertissement comique), which he orchestrated himself,Duchen, p. 196 Dolly, orchestrated by Henri Rabaud,Duchen, p. 226 and Pelléas et Mélisande which draws on incidental music for Maeterlinck's play; the stage version was orchestrated by Koechlin, but Fauré himself reworked the orchestration for the published suite. In the chamber repertoire, his two piano quartets, in C minor and G minor, particularly the former, are among Fauré's better-known works.
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Gabriel Heaton, 'Elizabethan Entertainments in Manuscript: The Harefield Festivities and the Dynamics of Exchange', in Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), pp. 227-244. In Scotland, masques were performed at court, particularly at wedding celebrations, and the royal wardrobe provided costumes.Michael Pearce, 'Anna of Denmark: Fashioning a Danish Court in Scotland', The Court Historian, 24:2 (2019) pp. 146, 148-9 After the Union of the Crowns, at the court of James I and Anne of Denmark, narrative elements of the masque became more significant.
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Lucy Russell, Countess of Bedford, in peeress's robes Lucy Russell, Countess of Bedford (née Harington) (1580–1627) was a major aristocratic patron of the arts and literature in the Elizabethan and Jacobean eras, the primary non- royal performer in contemporary court masques, a letter-writer, and a poet. She was an adventurer (shareholder) in the Somers Isles Company, investing in Bermuda,John Henry Lefroy, Memorials of the Discovery and Early Settlement of The Bermudas or Somers Islands, vol. 1 (London, 1877), p. 99. where Harrington Sound is named after her.
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Benn was born Caroline Middleton DeCamp in Cincinnati, Ohio, the eldest daughter of Anne Hetherington (Graydon) and James Milton DeCamp, a lawyer. She came from a privileged background. Educated at Vassar College (BA, 1946) and the University of Cincinnati (BA, 1948), she travelled to the United Kingdom in 1948 to study at Oxford University and voted for Henry Wallace, the Progressive Party candidate in that year's American Presidential election. She gained an English MA on Jacobean drama (specifically on the masques of Inigo Jones) at University College London in 1951.
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Jonson's works, particularly his masques and pageants, offer significant information regarding the relations of literary production and political power, as do his contacts with and poems for aristocratic patrons; moreover, his career at the centre of London's emerging literary world has been seen as exemplifying the development of a fully commodified literary culture. In this respect he is seen as a transitional figure, an author whose skills and ambition led him to a leading role both in the declining culture of patronage and in the rising culture of mass media.
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Their argument received some general acceptance for a time, but was refuted by later researchers.John Orrell, "The London Stage in the Florentine Correspondence, 1604-1618," Theatre Research International 3 (1977-78)Martin Butler and David Lindley, "Restoring Astraea: Jonson's masque for the fall of Somerset," English Literary History 61 (1994). The masques in the 1616 folio appear to be arranged in a consistent chronological order; and The Golden Age Restored, as noted, is last. Its title page dates it to 1615 -- but the English began the New Year on March 25 prior to 1751.
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Register of Gray's Inn lists 'William Humings' (sic) – a not infrequent mis-transcription of Hunnings At that time Gray's Inn was a fashionable place for noblemen and country gentlemen to send their sons, even though some 90% would not actually be called to the Bar. Along with legal training, the Inn provided a good venue for 'masques and revels'. The following year, in 1562, Honnyng was appointed a Justice of the Peace for Suffolk, and by 1564 was 'of the Quorum'.Calendar of Patent Rolls, Eliz I, 1560–63, p.
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Rivero 1989 pp. xi–xii Similarly, Potter organised the plays by a general theme of developing libertine characters and believed that "Fielding's most successful group of plays followed Love in Several Masques both chronologically and thematically. Comedies and burlesques such as The Author's Farce, The Tragedy of Tragedies, The Old Debauchees, and Pasquin made Fielding the most popular playwright of the 1730s, and all of these plays contain characters, situations, and dialogues that invoke libertine philosophy in some way, thought they vary in the explicitness of the depiction."Potter 1999 p.
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3, p. 391. Jonson's first attempt to win royal patronage had not been a success: his play Cynthia's Revels was a failure when acted at Court in 1601, and led to no preferment from Queen Elizabeth. His luck with the new dynasty was much better: Jonson composed several more entertainments in the early Jacobean era, and in 1605 his first masque, The Masque of Blackness, was presented at Whitehall Palace. From that time down to Chloridia in 1631, Jonson was the primary author of masques for the Stuart Court.
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In the dramatist Ben Jonson's masque The Gypsies Metamorphosed (1621), the Second Gypsy addresses Lady Purbeck (who was among the original audience) as follows: > Help me wonder; here's a Book Where I would for ever look; Never yet did > Gypsy trace Smoother lines in Hand or Face; Venus here doth Saturn move That > you should be Queen of Love … You shall turn all hearts to tinder, And shall > make the world one cinder.The Works of Ben Jonson, ed. W. Gifford (9 vols, > London, 1816), vol. 7, Masques at Court, p. 390.
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Lélio. (Maurice Sand, Masques et bouffons (comédie italienne), 1860.) Lélio is a stock character of the commedia dell'arte. Lélio represents the happy innamorati, loved by the woman he loves (often Isabella), always friendly, gay, cheerful, with a hint of comic. Several actors played the role in Paris, particularly Luigi Riccoboni who gained great successes with the part due to his talent, grace, elegance and happy countenance, as well as his son Antoine- François Riccoboni, called "Lélio fils". Molière introduced the figure of Lélio in two of his comedies, l'Étourdi and The Imaginary Cuckold.
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Inigo Jones, by Anthony Van Dyck Jones was an architect, artist and connoisseur who was employed in the court of Charles I. He exercised the most influence over court culture by organising many Court Masques and incorporating images from the group's collections in their backdrop. Wood, Jeremy; Artists and Agents - Connoisseurship at the Caroline Court; Exhibition catalogue, Royal Society of Arts, 2018 He accompanied the Arundels on their visit to Italy. In 1628, he was instructed (along with Nicholas Lanier) to put together an inventory of Charles I works of art.
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The students of the inns were regarded as being particularly rowdy and are known to have got into fights with actors from Oxford's Men in 1580 and the Earl of Berkeley's men in 1581. Despite this the plays and masques were regarded as the more respectable aspect of the revels. Elizabeth I attended a performance at Gray's Inn in 1565 and another in 1595 at which the Masque of Proteus was performed. On the latter occasion she returned the next night to present the Prince of Purpoole with diamonds and rubies.
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A 1596 sketch of a performance in progress on the thrust stage of The Swan, a typical Elizabethan open-roof playhouse. Renaissance theatre derived from several medieval theatre traditions, such as the mystery plays, "morality plays", and the "university drama" that attempted to recreate Athenian tragedy. The Italian tradition of Commedia dell'arte, as well as the elaborate masques frequently presented at court, also contributed to the shaping of public theatre. Since before the reign of Elizabeth I, companies of players were attached to households of leading aristocrats and performed seasonally in various locations.
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Damer's friends included a number of influential Whigs and aristocrats. Her guardian and friend Horace Walpole was a significant figure, who helped foster her career and on his death left her his London villa, Strawberry Hill. She also moved in literary and theatrical circles, where her friends included the poet and dramatist Joanna Baillie, the author Mary Berry, and the actors Sarah Siddons and Elizabeth Farren. She frequently took part in masques at the Pantheon and amateur theatricals at the London residence of the Duke of Richmond, who was married to her half- sister.
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Wilding is a young law student who gives up his studies to seek pleasure. He is a rake who uses people and wishes to marry Bellaria simply for money. Unlike Love in Several Masques, Fielding cares more about revealing hypocrisy than with a discussion of love and lovers, but he portrays the hypocrites in a manner that emphasises a comedic response instead of censure. Other characters want to have Bellaria, including the virtuous man Veromil and his foil Valentine who is unable to control his desires for Bellaria.
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13 Leslie Stephen backs this up by saying that the play is "much in the vein of the first, with less smartness in dialogue".Fielding 2004 qtd p. 105 F. Homes Dudden declared The Temple Beau as "a fairly good comedy of intrigue" and says that "The plot of the comedy, though rather too complicated, is more skilfully constructed than that of Love in Several Masques, and some of the situations are diverting. One of the best things in the piece is the interview between the deluded Sir Harry [...] young Wilding [...] and Pincet".
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In Europe, Negrophobia finds its roots in the 17th century due to its extensive historical colonisation and slavery. According to certain sources, the term Negrophobia would have been forged on the model of the word Nigrophilism, itself first appearing in 1802 in Baudry des Lozières’s Les égarements du nigrophilisme. It further reappeared in January 1927 in Lamine Senghor’s La voix des nègres, a monthly anti-colonialist newspaper. The term was later popularised by Frantz Fanon, especially in his works Peaux noires masques blancs and Les Damnés de la Terre.
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For the Honour of Wales was a masque written by Ben Jonson and first performed on 17 February 1618. It was written in honour of Charles Stuart, Prince of Wales. Jonson's previous work, Pleasure Reconciled to Virtue,Craig, Jennifer J. (2009) Inventing 'living emblems': emblem tradition in the masques of Ben Jonson, 1605-1618. PhD thesis, University of Glasgow had been written to celebrate Charles's investiture as Prince of Wales in 1616, but the prince's father, King James I of England, had made no secret of the fact that he found it tedious.
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Alan Rodgers (August 11, 1959 – March 8, 2014) was a science fiction and horror writer, editor, and poet. In the mid-eighties he was the editor for Night Cry. His short stories have been published in a number of venues, including Weird Tales, Twilight Zone and a number of anthologies, such as Darker Masques, Prom Night, and Vengeance Fantastic. His novelette "The Boy Who Came Back From the Dead" won the Bram Stoker Award for Best Long Fiction in 1987 and was nominated for the World Fantasy Award.
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Sweden's first talkie, Konstgjorda Svensson (Artificial Svensson), premiered on October 14. Eight days later, Aubert Franco-Film came out with Le Collier de la reine (The Queen's Necklace), shot at the Épinay studio near Paris. Conceived as a silent film, it was given a Tobis-recorded score and a single talking sequence—the first dialogue scene in a French feature. On October 31, Les Trois masques (The Three Masks) debuted; a Pathé-Natan film, it is generally regarded as the initial French feature talkie, though it was shot, like Blackmail, at the Elstree studio, just outside London.
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381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of Les Trois masques and Cine-studies gives its release ("sortie") date as November 2. Note finally, where Crisp defines in Genre, Myth, and Convention a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Wikipedia-prevalent, standard of forty minutes or longer. Before the Paris studios were fully sound-equipped—a process that stretched well into 1930—a number of other early French talkies were shot in Germany.
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W. Lovelock, A Concise History of Music (Frederick Ungar, 1953), p. 57. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era and English madrigals, lute ayres and masques in the Renaissance era, which led particularly to English language opera developed in the early Baroque period.R. H. Fritze and W. Baxter Robison, Historical dictionary of late medieval England, 1272-1485 (Greenwood, 2002), p. 363; G. H. Cowling, Music on the Shakespearian Stage (Cambridge University Press, 2008), p. 6.
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He was born into a family of actors, the child of a French mother and a Belgian father and he himself was also an actor. His son Aldo Crommelynck, 1931–2009, was a renowned master printmaker, who worked with many major artists of the twentieth century. In his earliest works Crommelynck already demonstrated the grasp of style and content that in his maturity culminated in works of great poetic force. The dramatic structure in Nous n'irons plus au bois (1906), Le sculpteur de masques (1908) and Le marchand de regrets (1913), was already based on the logical development of an absurd premise.
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The annual indulgence in eating, dancing, singing, sporting, and card playing escalated in England, and by the 17th century the Christmas season featured lavish dinners, elaborate masques, and pageants. In 1607, King James I insisted that a play be acted on Christmas night and that the court indulge in games. It was during the Reformation in 16th–17th-century Europe that many Protestants changed the gift bringer to the Christ Child or Christkindl, and the date of giving gifts changed from December 6 to Christmas Eve.Forbes, Bruce David, Christmas: a candid history, University of California Press, 2007, , pp. 68–79.
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Following Roman Catholic custom, the infant was called only "the prince" until his baptism. Astrologers predicted nothing but greatness for his future, while Philip was still unsure that he had not thanked God enough for this immense joy. In a letter to his friend Sor María de Ágreda, he wrote that "the newborn babe is doing well," but also made a reference to the bitter memory of his eldest son's demise. On December 6, 1657, Philip rode into the decorated streets of Madrid, where the preparations for the prince's baptism were almost ready: dances, masques and music greeted the King.
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Jean-François-Maurice-Arnauld Dudevant, known as Baron Dudevant but better known by the pseudonym Maurice Sand (June 30, 1823 in Paris – September 4, 1889 in Nohant-Vic), was a French writer, artist and entomologist. He studied art under Eugène Delacroix and also experimented in various other subjects, including geology and biology. He was the elder child and only son of George Sand, a French novelist and feminist, and her husband, Baron François Casimir Dudevant. In addition to his numerous novels, he is best remembered for his monumental study of commedia dell'arte – Masques et bouffons (comédie italienne), 1860.
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Nineteenth-century engraving of a performance from the Chester mystery play cycle. Medieval theatre encompasses theatrical performance in the period between the fall of the Western Roman Empire in the 5th century and the beginning of the Renaissance in approximately the 15th century. Medieval theatre covers all drama produced in Europe over that thousand-year period and refers to a variety of genres, including liturgical drama, mystery plays, morality plays, farces and masques. Beginning with Hrotsvitha of Gandersheim in the 10th century, Medieval drama was for the most part very religious and moral in its themes, staging and traditions.
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The show was described by local witnesses as "stupendous," more than adequate to establish Newcastle's reputation as the greatest "prince...in all the northern quarter" of the kingdom.Julie Sanders, "Jonson's Caroline Coteries," in Kozuka and Mulryne, p. 285. Perhaps the most visually striking element in the masque lay in the two Cupids, Eros (Love) and Anteros (Love Returned), who descended "from the clouds" bearing fronds of palms. The masque was published in 1641 in the second folio collection of Jonson's works, and was thereafter included in his canon, although it does not appear in Stephen Orgel's "Complete Masques of Ben Jonson".
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Even the heroic virtue of her brothers is not enough. Comus escapes rather than actually being defeated. Many have read the intervention of Sabrina as divine assistance being sent, showing that earthly virtue is relatively weak, and certainly not worthy of the exaltation given it in contemporary masques. Barbara Lewalski comments that the character of Sabrina was apparently not played by a noble, but by one of the actors (we can assume this because no-one is listed as playing this character in the dramatis personae), so it is actually a commoner who holds the position of most power.
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The Muny in 1923 In 1914, Luther Ely Smith began staging pageant- masques on Art Hill in Forest Park.Luther Ely Smith: Founder of a Memorial - nps.gov - Retrieve January 12, 2008 In 1916, a grassy area between two oak trees on the present site of The Muny was chosen for a production of As You Like It produced by Margaret Anglin and starring Sydney Greenstreet with a local cast of "1,000 St. Louis folk dancers and folk singers""Our Historic Theatre", Muny, Retrieved January 12, 2008 in connection with the tercentenary of Shakespeare's death. The audience sat in portable chairs on a gravel floor.
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Reconstructions of Stuart masques have been few and far between. Part of the problem is that only texts survive complete; there is no complete music, only fragments, so no authoritative performance can be made without interpretive invention. There is a detailed, humorous and malicious account by Sir John Harington of a 1606 masque of Solomon and Sheba at Theobalds. Harington was not so much concerned with the masque itself as with the notoriously heavy drinking at the Court of King James I; "the entertainment went forward, and most of the presenters went backward, or fell down, wine did so occupy their upper chambers".
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It was gifted to Cleveland Museum in Ohio by Mr. and Mrs. Preston H. Saunders in 1971.Amica Library contribution to AAU He travelled constantly, reaching as far west as the court of James I in London, and as far east as Persia. Like many of his contemporaries, de' Servi also designed masques for the Stuart court,The Oxford Handbook of the Age of Shakespeare, Chapter: Garden design and experience, p 679 though they were unsuccessfulFor De' Servi's disastrous production of Thomas Campion's Masque of Squires, see Roy Strong, Henry Prince of Wales and England's Lost Renaissance, London, Pimlico, 2000.
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On 15 November 1569 Servais handed the library of Mary Queen of Scots, cloths used in her chapel, and masque costumes called "dansyne cleiss" and "maskeine cleis" to Moray's agents.Joseph Robertson, Inventaires de la Royne Descosse (Edinburgh, 1863), pp. 179, 185-6: HMC 6th Report: Earl of Moray (London, 1877), p. 672. At the Scottish court masques with music and dancing were performed in elaborate and unusual costumes at the weddings of leading courtiers, like that of James Stewart, 1st Lord Doune and Margaret Campbell, sister of the Earl of Argyll at Castle Campbell on 10 January 1563.
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The castle has a rectangular plan and a massive appearance, with a large keep, occupying a whole wing, and a U-shaped structure with a series of turrets: two square and two rounded, the latter, added in the 16th century, being pensile. There are a series of rooms, one of which, called Sala delle Maschere ("Masques Hall"), has a ceiling decorated with 157 panels featuring coat of arms, animals and allegory images celebrating the marriage of Pietrino Falletti, who owned the castle in 1517. In 2010 a new building was inaugurated. It houses educational rooms and a hall used for meetings.
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The Kanaga mask evokes the Creator God Amma. It presents a double cross shape, which reminds the creation of the world, danced during funeral ceremonies where it is used by members of the Awa society.Masque Kanaga The general uninitiated public tends to see there various animal subjects : the kommolo tebu (a bird),Marcel Griaule in Masques dogons, thèse de doctorat, 1938 the lizard, the iguana, the barâmkamza dullogu (a water insect), the hand of God or the female spirit of the trees (gyinu ya).Dogon… mais encore, Département d'Ethnologie, Université de Strasbourg The mask is represented both in male and female form.
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Lawes spent all his adult life in Charles's employ. He composed secular music and songs for court masques (and doubtless played in them), as well as sacred anthems and motets for Charles's private worship. He is most remembered today for his sublime viol consort suites for between three and six players and his lyra viol music. His use of counterpoint and fugue and his tendency to juxtapose bizarre, spine-tingling themes next to pastoral ones in these works made them disfavoured in the centuries after his death; they have only become widely available in recent years.
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On the novel's title page and on its original cover, Moorcock calls Gloriana a romance and, indeed, its setting and characters resemble those of that popular literary genre of the Medieval and Renaissance periods—an imagined time of quests, jousts, and masques. Moorcock based his novel on elements of Edmund Spenser's The Faerie Queene, an allegorical epic poem of the 1590s that praises Queen Elizabeth I in the character of Gloriana, queen of a mythical "Fairyland". But Gloriana is an anti-romance, "more a dialogue with Spenser of The Faerie Queene than a description of my own ideal State," says Moorcock.
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Love Restored was a Jacobean era masque, written by Ben Jonson; it was performed on Twelfth Night, 6 January 1612, and first published in 1616. The Dictionary of National Biography says of the masque, "This vindication of love from wealth is a defense of the court revels against the strictures of the puritan city." Compared to Jonson's previous masques for the Stuart Court, Love Restored was unusual in several respects. Love Restored could be called a "budget" masque, in that its total bill was only in the hundreds of pounds rather than the thousands; specifically, it cost only £280.
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He was replaced by J. Peter Robinson in June, at the same time as Chuck Burgi was brought in to take over from Dennard. In July 1978, during the tour in promotion of the forthcoming Masques, Goodsall was forced to leave temporarily after suffering tendinitis, with Mike Miller taking his place for the rest of the year. For the North American leg of the tour starting in October, the unavailable Burgi was replaced by Mike Clark. In April 1979, Brand X recorded with two lineups – the first with Goodsall, Jones, Robinson and Clark; the second with Goodsall, bassist John Giblin, Lumley and Collins.
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The Masque of Queens was published soon after its performance, by the command of Crown Prince Henry, with a dedication to the Crown Prince. The work was entered into the Stationers' Register on February 22, 1609, and the edition that followed was printed by Nicholas Okes for the booksellers Richard Bonian and Henry Walley. After its initial quarto printing in 1609, The Masque of Queens was one of the fourteen masques included by Jonson in the 1616 folio collection of his Works. The work also exists in a manuscript in Jonson's hand, now Royal MS. 18 in the collection of the British Library.
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This display was often tied up with ideas of chivalry, which was evolving in this period from a practical military ethos into a more ornamental and honorific cult. Tournaments provided one focus of display and were also pursued enthusiastically by James V, proud of his membership of international orders of knighthood. During her brief personal rule Mary, Queen of Scots brought many of the elaborate court activities that she had grown up with at the French court, with balls, masques and celebrations, designed to illustrate the resurgence of the monarchy and to facilitate national unity.Thomas, "The Renaissance", pp. 192–3.
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12 mo),Masques et visages (1857) Paulin et Lechevalier, Paris and in 1869, about two years after his death, his last artistic work, Les Douze Mois (1 vol. fol.), was given to the world. Gavarni was much engaged, during the last period of his life, in scientific pursuits, and this fact must perhaps be connected with the great change which then took place in his manner as an artist. He sent several communications to the Académie des Sciences, and until his death on 23 November 1866 he was eagerly interested in the question of aerial navigation.
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The Gentleman Usher was entered into the Stationers' Register on 26 November 1605, under the alternative title Vincentio and Margaret (the names of its hero and heroine). The first edition appeared the next year, in a quarto printed by Valentine Simmes for the publisher Thomas Thorpe. The title page identifies Chapman as the author, but does not mention the playing company that staged the work. The style of the play, with its two masques and its use of music, suggests that one of the two children's companies, the Children of Paul's or the Children of the Queen's Revels, acted the play.
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Even with this frugality, the masque cost between two and three thousand pounds to stage. Lady Penelope Rich reportedly wore £20,000 worth of jewels while appearing the masque – though she was outdone by the Queen, who sported fully £100,000 in gems. (This kind of extreme display became characteristic of the courtly masques during the Stuart era, and was a focus of controversy and deep disapproval by wide segments of the public.) Anne carried a spear and wore a helmet and a tunic, embroidered with cannon and weapons of war, which ended just below the knee, quite an innovation for the time.
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Jane Barbier (will proved 9 December 1757) was an English contralto of the 18th century, best known for her performances in the operas of George Frideric Handel. She created the roles of Dorinda and Arcano (Il pastor fido and Teseo, respectively), and also sang in Rinaldo. After leaving Italian opera she performed in the masques of Johann Pepusch, and worked for John Rich in various pantomimes and English-language operas. Thomas Arne's Rosamond (1733), where she took the role of King Henry, marked the end of her successful career, and after this she largely disappears from the historical record.
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During the Renaissance, masques and ballet de cour developed – courtly masked entertainments that continued as part of ballet conventions until the late eighteenth century. The masked characters of the Commedia dell'arte included the ancestors of the modern clown. In contemporary western theatre, the mask is often used alongside puppetry to create a theatre which is essentially visual rather than verbal, and many of its practitioners have been visual artists. Masks are an important part of many theatre forms throughout world cultures, and their usage in theatre has often developed from, or continues to be part of old, highly sophisticated, stylized theatrical traditions.
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He was the second son of Ludovic Greville and Thomasina or Thomasine, daughter of Sir William Petre of Ingatestone Hall, Essex and his second wife Anne Browne. His father was pressed to death for murder in 1589 and he inherited the family estates in Gloucestershire and Warwickshire, his elder brother having previously died. He was MP for Warwickshire in the Parliaments of 1593 and 1604 and chosen High Sheriff of Warwickshire for 1594. In August 1594 he travelled with the Earl of Sussex to Stirling Castle for ceremonies and masques at the christening of Prince Henry of Scotland.
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The masque was published later in 1606, in an edition printed by Valentine Simmes for the bookseller Thomas Thorpe – the first of Jonson's masques to be issued in print. The volume contains a preface in which Jonson envisions the performance of a masque as its body, but the meaning of the masque (as recorded in its text) as its soul. The work was printed again when included in the first folio collection of Jonson's works in 1616. Its full title in the latter text is Hymenaei, or The Solemnities of Masque and Barriers at a Marriage.
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These masques were especially popular during the reign of Henry VIII who had a House of Revels built and an Office of Revels established in 1545.Brockett and Hildy (2003, 101–103) The end of medieval drama came about due to a number of factors, including the weakening power of the Catholic Church, the Protestant Reformation and the banning of religious plays in many countries. Elizabeth I forbid all religious plays in 1558 and the great cycle plays had been silenced by the 1580s. Similarly, religious plays were banned in the Netherlands in 1539, the Papal States in 1547 and in Paris in 1548.
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His installation Visages de masques presented at Bandjoun Station (Cameroon) looks at the impact of colonization on the making of ritual masks in Africa during the era of globalization. The treatment of historical subjects has occupied an important place in his work, through works like Cameroonian heroes, presented during SUD 2007 in Douala, tribute to the first Cameroonian resistance against German colonization. Hervé Youmbi received the Cultures France scholarship awarding an artist visa in 2009 and the Smithsonian Artist Research Fellowship 2012 from the Smithsonian in Washington DC, USA. His works are in some leading collections, such as the World Bank and the Smithsonian National Museum of African Art in Washington.
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Enrichetta d'Este of Modena, Antonio's wife As a prince he spent most of his time at the court of his cousin the Hereditary Prince of Modena, because his sister-in-law, Duchess Sophia Dorothea, disbarred masques and other merriments, distractions which Antonio revelled in.Solari, p 276. The castle of Sala, which he zealously enlarged and renovated, served as his Parmese residence. Here, Antonio threw lavish parties frequented by his favourite and mistress, the "domineering" Countess Margherita Bori Giusti. Arms of Antonio as Duke of Parma By the time of his accession in February 1727, the morbidly obese Antonio had scant desire to rule.Solari, p 275.
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And when the mad Pennyboy Senior puts his dogs on trial, the debt is to The Wasps. Scholars have also noted borrowings from the dialogue Timon by Lucian, as well as links with earlier English plays, including The Contention Between Liberality and Prodigality (printed 1601) and The London Prodigal (1605). Jonson also re-used some material from his unproduced 1624 masque Neptune's Triumph for the Return of Albion in the play. The anti-masque in that work contained a dialogue between a poet and a cook, which is one instance in the pattern of Jonsonian ridicule of his partner in creating masques, Inigo Jones.
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Bernardo Bellincioni (1452–1492) was an Italian poet, who began his career in the court of Lorenzo the Magnificent in Florence. In 1483 he was at the Gonzaga court and in 1485 he moved to Milan, where he was the court poet of Ludovico Sforza, the patron of Leonardo da Vinci. He wrote eulogistic sonnets addressed to his patrons and engaged in the usual literary squabbles with other poets, some in the burlesque manner established by Domenico Burchiello, that are a characteristic of the Italian Renaissance. Bellincioni's occasional verse provided the literary clues to elaborate allegorical masques and state entries that were highlights of Early Modern court life.
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Lepage was invited in 1994 to direct August Strindberg's A Dream Play at Royal Dramatic Theatre in Stockholm, Sweden. It premiered in the fall of 1994 and guest played in the spring of 1995 in Glasgow Scotland. Geometry of Miracles (1998) and The Far Side of the Moon (, 2000), a solo show in which he juxtaposed the Cold War competition of the Americans and the Soviets in the Space Race with the story of two Québécois brothers—one straight, one gay—and their competitive relationship after their mother's death. It won four trophies at le Gala des Masques, a Time Out Award and the Evening Standard Award.
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Choose Your Masques is the thirteenth studio album by the English space rock group Hawkwind, released in 1982. It spent five weeks on the UK Albums Chart, peaking at No. 29. The group's line-up for this album remained unchanged from the previous Church of Hawkwind album, although for this recording the group started to heavily use drum machines and drum loops, with most of Griffin's contributions being relegated to disjointed drum fills. Griffin was unhappy with this role, and group-leader Dave Brock was dissatisfied with Griffin's timekeeping, so they mutually agreed to part company, although Griffin reluctantly agreed to fulfil the scheduled tour commitments.
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Williams and Frederick Page were then editors for the Press, and there was a great friendship among all three men.Bosky, 12 It was for two of Williams' "Amen House Masques" (in 1927 and 1929) that Foss wrote the music and arranged the dances that were performed by some of the employees for festive occasions in honor of Milford and the staff of Amen House.Williams Williams and Foss at about the same time collaborated on a short essay on "Meaning in Poetry and Music" which appeared in Music and Letters.Williams and Foss Most of Foss's own musical compositions are short forms: songs, piano pieces, and chamber music.
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The Location - Whitehall, Ministry of Defence. Inigo Jones plans for the Cockpit-in-Court The Cockpit ceased to be used for cockfighting in Jacobean times, and was used instead as a private theatre and as chambers for members of the Royal Household. It was redesigned in 1629 for Charles I by Inigo Jones as a private venue for staging court masques. It was the second cockpit that Jones had redesigned as a theatre, the other being the Cockpit Theatre in Drury Lane, which was renovated after a fire in 1617. After the London theatre closure of the Interregnum, the Cockpit returned to use under Charles II, and was refitted in 1662.
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A Thomas Wingate also took a photograph and all eight were published later that year as an album: Souvenir of the Masques of Christmas, and of the Old and New Year. He also worked with Louisa Anne Meredith on the "First Tableau, left group" 1866. In his work "Second Tableau – Right Group" four men and a woman represent Australian industry: a gold-digger, vine-grower, reaper, and a shearer and gleaner. While most of Woolley’s photographs illustrate aspects of the festive season in the antipodes, he was one of the photographers appointed to photograph the Duke of Edinburgh's visit to Hobart Town in 1868.
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The end of Jonson's career as a masquer for the Court, however, was due not to ill health but to a clash of personalities.Leapman, pp. 246-54. Jonson and Jones had been partners in the creation of masques for the Stuart Court since The Masque of Blackness in 1605; but Jonson had long nourished a resentment against Jones, feeling that the architect took and received too much credit for the success of their joint projects. The poet expressed his resentment with thinly veiled ridicule of Jones in his works, starting at least as early as Bartholomew Fair in 1614 -- the character Lanthorn Leatherhead in that play being a mockery of Jones.
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These masques were especially popular during the reign of Henry VIII who had a House of Revels built and an Office of Revels established in 1545.Brockett and Hildy (2003, 101-103) The end of medieval drama came about due to a number of factors, including the weakening power of the Catholic Church, the Protestant Reformation and the banning of religious plays in many countries. Elizabeth I forbid all religious plays in 1558 and the great cycle plays had been silenced by the 1580s. Similarly, religious plays were banned in the Netherlands in 1539, the Papal States in 1547 and in Paris in 1548.
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Title page of first edition of the masque (1608) The Hue and Cry After Cupid, or A Hue and Cry After Cupid, also Lord Haddington's Masque or The Masque at Lord Haddington's Marriage, or even The Masque With the Nuptial Songs at the Lord Viscount Haddington's Marriage at Court, was a masque performed on Shrove Tuesday night, 9 February 1608, in the Banqueting House at Whitehall Palace. The work was written by Ben Jonson, with costumes, sets, and stage effects designed by Inigo Jones, and with music by Alfonso Ferrabosco -- the team of creators responsible for previous and subsequent masques for the Stuart Court.
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Disgusted with his theatrical setbacks, he began composing brochures and pamphlets, writing papers. Repudiated by van der Noot, he wrote his "historical drama" Histoire secrète et anecdotique de l'Insurrection belgique, ou Vander-Noot (1790), scandalous pamphlet in which he denounced the failures of revolutionaries. In search for a shelter from the wrath of the tyrant he described, Beaunoir fled to Holland where he wrote another satire, Les Masques arrachés which rapidly spread in Belgium and lead to the fall of van der Noot. Leaving the Netherlands, Beaunoir went to Neuwied and joined a colony of French men of letters, including Louis-François Metra who had him collaborate to his '.
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Farwell wrote a copious amount of instrumental, chamber, choral and orchestral music as well as theatre scores, masques and music for community performance. Some of his works reflect his interest in a personal, esoteric form of spirituality. This is also expressed in his lectures and writings on the theme of Intuition. Among his principal compositions are a number of Symbolistic Studies for orchestra, a Symphony developed from a fragmentary opening left by his mentor Rudolph Gott, the large-scale "symphonic song ceremony" Mountain Song for orchestra and chorus, a string quartet, a piano quintet and many works both vocal and instrumental drawing from the music of Native American peoples.
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Wolff S. Un demi-siècle d'Opéra-Comique (1900–1950). André Bonne, Paris, 1953. Other creations at the Salle Favart were Floriane in Éros Vainqueur (de Bréville), la Tour in Le Fou de la Dame (Delannoy), a fairy in Riquet a la Houppe (Hue), and Léonor in Le Sicilien (Letorey). Her other principal roles at the Opéra- Comique included Sélysette (Ariane et Barbe-bleue), a sister (Béatrice), Gertrude (Le roi Dagobert), la fantôme (Les Contes d'Hoffmann), Mallika (Lakmé), Javotte (Manon), title role in Mignon, Souzouki (Madame Butterfly), Vincenette/Taven (Mireille), Geneviève (Pelléas et Mélisande), Cléone (Pénélope), Charlotte (Werther) and one of the voices in Masques et bergamasques.
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3 The connections are deeper, and, as Harold Pagliaro believes, that "Though The Temple Beau is more complex in its intrigues than is Fielding's first play, both promote the ideal of love and marriage, showing money to be necessary for a happy marriage but bad as the primary reason for it."Pagliaro 1998 pp. 61–62 The Temple Beau is straightforward unlike Love in Several Masques, and it relies on a simpler set of patterns: instead of triplicates, the images are repeated only once. Additionally, many of the characters are analogous to the roles of the characters within the other play (Wilding and Wisemore, Veromil and Merital, Valentine and Malvil, etc.).
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Negative Capability is the twenty-first studio album by British singer and songwriter Marianne Faithfull. It was released on 2 November 2018, and produced by Rob Ellis, Warren Ellis and Head. Described as her "most honest album", songs on Negative Capability deal with themes of love, death, as well as terrorism and loneliness. She revisits three old recordings: "It's All Over Now, Baby Blue" from Rich Kid Blues, recorded in 1971 under the title Masques, which is her 'lost' album and was not released until 1985; "Witches Song", from 1979's comeback album Broken English; and "As Tears Go By", which started her career as a 17-year-old.
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Lecoq met Amleto Satori, a sculptor, and they collaborated on reviving the techniques of making traditional leather Commedia masks. Later, developing Copeau's "noble mask", Lecoq would ask Satori to make him masques neutre (the neutral mask). For Lecoq, masks became an important training tool, the neutral mask being designed to facilitate a state of openness in the student-performers, moving gradually on to character and expressive masks, and finally to "the smallest mask in the world" the clown's red-nose. One highly important feature of Lecoq's use of mask, wasn't so much its visual impact on stage, but how it changed the performers movement on stage.
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There is no direct record of why this was done, but it seems likely that the new device was adapted from the arms of the Treasurer Richard Aungier (d. 1597), for two probable reasons: firstly, because he was a particularly important and prestigious member of the Inn, and secondly, because the griffin would have looked more impressive on occasions such as masques and revels than the plain geometric arms of the de Greys. The motto around the badge, the date of adoption of which is unknown, is Integra Lex Aequi Custos Rectique Magistra Non Habet Affectus Sed Causas Gubernat, or "Impartial justice, guardian of equity, mistress of the law, without fear or favour rules men's causes aright".
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Tolia Nikiprowetzky (12 or 25 September 1916 – 5 May 1997) was a French composer and musicologist of Russian birth. His compositions include four operas (Les Noces d'Ombre, La Fête et les masques, Le Sourire de l'Autre and La Veuve du Héros); a symphony (Symphony Logos 5); concertos for saxophone, piano, cello, and trumpet; a piece for wind quintet and string orchestra; two large religious works (Numinis Sacra and Ode Funèbre); a few cantatas; several pieces for solo piano; and numerous chamber works among others. Some of his works experimented with serialism, electronic music, and reflected his interest in African music. Born in Feodosiya, Nikiprowetzky immigrated with his parents to France in 1923 where they settled in Marseilles.
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344 Svetlana Beriosova danced Nijinska's old role of the hostess; Georgina Parkinson played the garçonne."Les biches, 1964", Royal Opera House performance database, retrieved 21 June 2018 Subsequent performers of the role of the hostess in the Royal Ballet's production have included Deanne Bergsma, Monica Mason, Marguerite Porter, Darcey Bussell and Zenaida Yanowsky; the garçonne has been danced by Vergie Derman, Viviana Durante, Mara Galeazzi and Leanne Benjamin."Les biches", Royal Opera House performance database, retrieved 21 June 2017 Two years later Ashton introduced Nijinska's other masterpiece, Les noces, into the Royal Ballet repertoire. Kavanagh sees its influence in several Ashton ballets, from the early A Tragedy of Fashion and Les Masques up to Varii Capricii.
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He wrote an article on "The History of Stage Costume" in The Book of Table Talk, edited by Charles MacFarlane, in 1836. He also provided the chapters on costume and furniture for The Pictorial History of England by MacFarlane and George Craik, as well as an introduction on costume for most of the plays in The Pictorial Edition of the Works of Shakespeare by Charles Knight. In 1842–43 Planché edited Regal and Ecclesiastical Antiquities of England and A Complete View of the Dresses and Habits of the People of England by Joseph Strutt. In 1848 he contributed "Remarks on some of his sketches for Masques and dramas" to Peter Cunningham's Inigo Jones: A Life of the Architect.
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Three albums, which again saw Moorcock contributing lyrics and vocals, were recorded for RCA/Active: Sonic Attack, the electronic Church of Hawkwind and Choose Your Masques. This band headlined the 1981 Glastonbury Festival and made an appearance at the 1982 Donington Monsters of Rock Festival, as well as continuing to play the summer solstice at Stonehenge Free Festival. In the early 1980s, Brock had started using drum machines for his home demos and became increasingly frustrated at the inability of drummers to keep perfect time, leading to a succession of drummers coming and going. First, Griffin was ousted and the band tried King again, but, unhappy with his playing at that time, he was rejected.
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Presented in the summer, it offers a variety of amusements, usually musicals or humorous dramas, sometimes outdoors, in rural and semi-rural regions of Quebec, in venues such as the theatre of la Dame de Cœur (the Lady of Heart) in Upton, Montérégie, the Grands Chênes (Great Oaks) Theatre in Kingsey Falls, Centre-du-Québec and the theatre of la Marjolaine in Eastmain, Estrie. The Quebec Theatre Academy and the Quebec Association of Playwrights (AQAD) are the main organizations for the promotion of literature and theatre in Quebec. The Quebec literary awards, including the Medal of the Académie des lettres du Québec, and the Soirée des Masques reward the important personalities of the year.
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Davenant sought and attained the patronage of Henrietta Maria, the queen consort of King Charles I. Henrietta Maria had revived the medieval tradition of courtly love which had been popular at the French court, where she had grown up. Davenant wrote several works in honor of the Queen, most notably the final masques staged at the Stuart Court, from The Temple of Love (1635) through Luminalia (1638) and Salmacida Spolia (1640). The Platonick Lovers is thought to have been written either at her orders or on her request. In his prologue, Davenant wrote that the title of his play might be above the heads of the common people, but that the Court would appreciate it.
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The English tradition of semi-opera, to which The Fairy-Queen belongs, demanded that most of the music within the play be introduced through the agency of supernatural beings, the exception being pastoral or drunken characters. All the masques in The Fairy- Queen are presented by Titania or Oberon. Originally act 1 contained no music, but due to the work's enormous success it was revived in 1693, when Purcell added the scene of the Drunken Poet and two further songs later on in the work; "Ye gentle spirits of the air" and "The Plaint".Price 2006 As noted above, each masque is subtly related to the action in the play during that particular act in a metaphorical way.
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Her work mainly captures people out enjoying life, capturing atmosphere and café scenes (reflecting her interest in fashion and clothes), but she also painted landscapes and flowers too. She is quoted as saying that she chose embroidery because she enjoyed "playing with colour" but also because it would sell as "art for art's sake is the road to starvation nowadays". She was reportedly vivacious and noted for her witty wisecracks In the 1900s Patrick Geddes and Fra Newberry led a number of Scottish masques and pageants relating to Pan- Celtic events involving a range of Arts and Crafts designers from Edinburgh and Glasgow. Helen Paxton Brown was involved in the "historical" pageant production at Glasgow University.
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Bedford performed in several of the masques staged at Court in the early 17th century, including The Masque of Blackness, Hymenaei, The Masque of Beauty, The Masque of Queens, and The Vision of the Twelve Goddesses. On two occasions in 1617, she functioned as a theatrical producer, instigating and organising the 1617 Court performance of Robert White's masque Cupid's Banishment, acted by students from the first English girls' school, the Ladies Hall in Deptford. In February 1617 the masque by Ben Jonson presented by Lord Hay to the French ambassador Baron de Tour, the Lovers Made Men, was staged by the Countess of Bedford.Norman Egbert McClure, The Letters of John Chamberlain, vol.
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During her brief personal rule, Mary, Queen of Scots brought many of the elaborate court activities that she had grown up with at the French court, with balls, masques and celebrations, designed to illustrate the resurgence of the monarchy and to facilitate national unity.A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), , pp. 192–93. Under James VI, the court returned to being a centre of culture and learning and he cultivated the image of a philosopher king.A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), , p. 200.
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Born in Bickley, Kent, the son of architect C. H. B. Quennell and Marjorie Quennell, he was educated at Berkhamsted Grammar School and at Balliol College, Oxford. While still at school some of his poems were selected by Richard Hughes for the anthology Public School Verse, which brought him to the attention of writers such as Edith Sitwell. In 1922 he published his first book, Masques and Poems. This was followed by many other volumes, particularly his Four Portraits of 1945 (studies of Boswell, Gibbon, Sterne, and Wilkes), books on London and works on Baudelaire (1929), Byron (1934–35), Pope (1949), Ruskin (1949), Hogarth (1955), Shakespeare (1963), Proust (1971) and Samuel Johnson (1972).
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Printing arrived even later in other parts of Britain and Ireland: the first printing press in Jersey was set up by Mathieu Alexandre in 1784. The earliest datable text in Manx (preserved in 18th-century manuscripts), a poetic history of the Isle of Man from the introduction of Christianity, dates to the 16th century at the latest. The reign of Queen Elizabeth I of England (1558–1603) and of King James I (1603–162) (James VI of Scotland), saw the development of Britishness in literature. In anticipation of James VI's expected inheritance of the English throne, court masques in England were already developing the new literary imagery of a united "Great Britain", sometimes delving into Roman and Celtic sources.
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Born at Chichester in the south of England, he was educated at Eton, where he was a chorister, and later received musical instruction from Henry Purcell.Franklin Zimmerman, Henry Purcell 1659–1695, his Life and Times (New York 1967) By 1694 Weldon had been appointed organist of New College in Oxford and became well known in the musical life of that city, writing music for masques as well as performing his organist duties. Some believe he set Shakespeare's play The Tempest to music in 1695, although others attribute that to Henry Purcell. Weldon moved to London and in 1701 took part in a competition to set Congreve's libretto The Judgement of Paris to music.
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The Rainbow Portrait, an image of Elizabeth I as the "Queen of Love and Beauty" by Isaac Oliver c. 1600, epitomizes the elaborate iconography associated with later Tudor court portraitureStrong 1987, p. 50-52 The artists of the Tudor court are the painters and limners engaged by the monarchs of England's Tudor dynasty and their courtiers between 1485 and 1603, from the reign of Henry VII to the death of Elizabeth I. Typically managing a group of assistants and apprentices in a workshop or studio, many of these artists produced works across several disciplines, including portrait miniatures, large-scale panel portraits on wood, illuminated manuscripts, heraldric emblems, and elaborate decorative schemes for masques, tournaments, and other events.
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Middle Temple hall hosted revels entertainments The revels were a traditional period of merrymaking and entertainment held at the Inns of Court, the professional associations, training centres and residences of barristers in London, England. The revels were held annually from the early 15th to the early 18th centuries and were an extension of a general nationwide period of entertainment running from All Saints' Eve (31 October) to Candlemas (2 February), though in some years they lasted as late as Lent. The inns elected a "prince" to lead the festivities and put on a sequence of elaborate entertainments and wild parties. The events included singing, dancing, feasting, the holding of mock trials and the performance of plays and masques.
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Castro-Santana 2018 p. 54 This strategy, characteristic of a savvy playwright who knew how to cater for a widely diverse spectatorship, produced an ambiguous effect that complicates our understanding of heroism and gender roles in Fielding's plays. Castro-Santana 2018 p. 54 Starting with Love in Several Masques, the stock characters that he relies on emphasise the deviations by recalling traditional behavioural stereotypes and in their commentary on the masculinity or femininity of other characters. The political implications for gender extend to a criticism of powerful female within the domestic and public domains. Many of the problems portrayed within the plays are the results of the domestic sphere extended into politics, especially within Tom Thumb.
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58–59 He added a 15th-century style gatehouse to the castle's medieval structures, as well as a formal garden and a residential wing which featured the "brittle, thin walls and grids of windows" that were to become the hallmark of Elizabethan architecture in later decades.Morris 2010 pp. 47–48 His works completed, the Earl staged a spectacular 19-day-festival in July 1575 as a final, allegorical bid for the Queen's hand; it was as much a request to give him leave to marry someone else. There were a Lady of the Lake, a swimming papier-mâché dolphin with a little orchestra in its belly, fireworks, masques, hunts, and popular entertainments like bear baiting.
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After beginning his new post, he becomes bored, depressed, disillusioned, and overwhelmed by the Mediterranean island; Nicholas struggles with loneliness and contemplates suicide. While habitually wandering around the island, he stumbles upon an estate and soon meets its owner, Maurice Conchis, a wealthy Greek recluse. They develop a sort of friendship, and Conchis slowly reveals that he may have collaborated with the Nazis during World War II. Nicholas is gradually drawn into Conchis's psychological games, his paradoxical views on life, his mysterious persona, and his eccentric masques. At first, Nicholas takes these posturings of Conchis, what the novel terms the "godgame", to be a joke, but they grow more elaborate and intense.
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The church was sufficiently restored for the Merchant Taylors Guild to celebrate mass there, during which offerings were made and the choir was hung with tapestries. However, the order was once again sent back to Malta on the accession of Elizabeth. During her reign her Master of the Revels, Edmund Tylney, stayed in the Priory buildings, as did all his tailors, embroiderers, painters, carpenters, and the stage crews for court plays and masques - the great hall of the complex was used for rehearsals. James I of England granted the buildings to Lord Aubigny (removing the Revels Office to St Peter's Hill), and it later passed to Sir William Cecil then to the Earl of Elgin.
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On the death of his father, in 1636, he succeeded to the family estates at the age of twenty-one. After the days of mourning for his father were ended, "he put off his hounds", came to London, "and kept his coach", and made his bow at court, where he was invited by the queen to assist at masques. He does not appear to have shone as a courtier, having, as he informs us, "found himself guilty of three imperfections, a blushing modesty, a flexible disposition, and no great diligence." These festive scenes at the court of Henrietta Maria were, however, soon to terminate in the turmoil of the English Civil War.
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In a strong contrast to Jacobean and Elizabethan theatre, seen by a very wide public, these were private performances in houses or palaces for a small court audience. The lavish expenditures on these showpiece masques—the production of a single masque could approach £15,000William Cavendish, 1st Duke of Newcastle, spent between £14,000 and £15,000 on staging Jonson's last masque, Love's Welcome at Bolsover, for the King and Queen on 30 July 1634. Henry Ten Eyck Perry, The First Duchess of Newcastle and Her Husband as Figures in Literary History, Boston, Ginn and Co., 1918; p. 18. —was one of a growing number of grievances that critics in general, and the Parliamentarians in particular, held against the King and his court.
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In 2006, Masques, creation by Marc Bleuse, Dido and Aeneas by Henry Purcell with Guillemette Laurens, at Toulouse, Périgueux, Condom and Agen, as well as a new production of Trois coups by Fabien Prou and Monsieur Choufleuri by Offenbach in several cities in the southwest. The year 2008 saw the creation of Blanche at the Agen theatre, adapted by J.F Gardeil from the Dialogues des Carmélites, by Francis Poulenc and Georges Bernanos, revived in summer 2008 in the Gers. It is also necessary to add the staging of Véronique by André Messager, a scenic adaptation of oratorios by Giacomo Carissimi and Marc-Antoine Charpentier in the cathédrale Saint-Caprais d'Agen, and most recently of The Magic Flute by W. A. Mozart.
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Andy Anderson briefly joined while he was also playing for The Cure, and Robert Heaton also filled the spot briefly prior to the rise of New Model Army. Lloyd Langton Group drummer John Clark did some recording sessions, and in late 1983 Rick Martinez joined the band to play drums on the Earth Ritual tour in February and March 1984, later replaced by Clive Deamer. Turner had returned as a guest for the 1982 Choose Your Masques tour and was invited back permanently. Further tours ensued with Phil "Dead Fred" Reeves augmenting the line-up on keyboards and violin, but neither Turner nor Reeves would appear on the only recording of 1983–84, The Earth Ritual Preview, however there was a guest spot for Lemmy.
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Novelette is a solo modern dance work choreographed by Martha Graham to an existing piece of music, Op. 99, No. 9 from Robert Schumann's Bunte Blätter, also known as Colored Leaves. The ninth movement from the piano solo, also titled Novelette, is a three-minute long piece in B-minor. The ballet premiered on April 18, 1926 at New York's 48 Street Theater in the first independent concert presented by Graham. The all-Graham program also featured the solos: Intermezzo, Maid with the Flaxen Hair, Clair de Lune, Desir, Deux Valses, Masques, From a Century Tapestry and A Study in Lacquer, and works for members of the newly-formed Martha Graham Concert Group: Tanze, Arabesque No. 1, The Marionette Show and Chorale, which also included Graham.
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Love's Welcome at Bolsover (alternative archaic spelling, Balsover) is the final masque composed by Ben Jonson. It was performed on 30 July 1634, three years before the poet's death, and published in 1641. The masque was not produced by the Stuart Court in one of the royal palaces around London, as many of Jonson's notable early masques were. Rather it was staged by William Cavendish, 1st Duke of Newcastle (at the time, he was the Earl of Newcastle) at Bolsover Castle in Derbyshire, in honor of King Charles I and Queen Henrietta Maria. Newcastle had put on a Jonson masque for his royal visitors at Welbeck in Nottinghamshire the year before: The King's Entertainment at Welbeck, performed on 21 May 1633.
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The masque was a bold and fresh departure from what was normal for the masque form, in that it featured none of the classical gods and goddesses, the mythological figures, or the personifications of abstract qualities that were standard in masques. Instead, the characters are, as the title indicates, gypsies, who behave for the most part in stereotypical gypsy fashion: they sing and dance frequently, they tell fortunes, and they pick the pockets of the common people who fall in among them. In the masque, the gypsies' "metamorphosis" is that their complexions change from "Ethiop" darkness to English white, under the beneficent royal influence of James.Jonson had earlier experimented with this theme of racial transformation in The Masque of Blackness (1605) and The Masque of Beauty (1608).
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Commenting on Oswald's work in 1991, Jean-Pierre Golay and Russell Panczenko observe that her large drawings and smaller etchings are not only meticulously presented but exhibit explosive creativity and a powerful sense of meaning. They require the attentive participation of the viewer until the mass of confused strokes emerge into a face or a human figure, culminating in a feeling of positive accomplishment. This also holds for her Au delà des Masques where apparent landscapes reveal faces and vice versa. In March 2015 in Montalchez, the Cabinet d'expertise Art Anciens held an exhibition of the works of the North family including those of Oswald herself, of her father, Marcel North, his wife, Marie-Claire Bodinier, and Armande's brother, Michel North.
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Costume for a Knight, by Inigo Jones Campion was also a composer of court masques, an elaborate performance involving music and dancing, singing and acting, within a complex stage design, in which the architectural framing and costumes might be designed by a renowned architect, such as Inigo Jones, to present a deferential allegory flattering to a noble or royal patron. These developed out of the medieval tradition of guising in the early Tudor period and became increasingly complex under Elizabeth I, James VI and I and Charles I. Professional actors and musicians were hired for the speaking and singing parts. Shakespeare included masque like sections in many of his plays and Ben Jonson is known to have written them.S. Orgel, ed.
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The Coronation Triumph is a Jacobean era literary work, usually classed as an "entertainment," written by Ben Jonson for the coronation of King James I and performed on 15 March 1604. Jonson's work was half of a total performance, the other half written by Thomas Dekker. The work was especially significant in the developing literary career of Jonson, in that it marked the commencement of his role as a writer of masques and entertainments for the Stuart Court, a role he would fill for the next three decades. The entertainment "confusingly goes by several names"Terence P. Logan and Denzell S. Smith, eds., The New Intellectuals: A Survey and Bibliography of Recent Studies in English Renaissance Drama, Lincoln, NE, University of Nebraska Press, 1977; p. 84.
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From his sale of gunpowder at exorbitant prices, through the Spanish ambassador, to supply the Spanish fleet attacking Dutch forces in September 1639, he pocketed £1000, and the King, £5000. By his own account he bargained with the ambassador to land soldiers from the Spanish fleet at Dunkirk, at thirty shillings a head, though public neutrality had been enjoined by Charles. His relatives, the Rich-Devereux clan, were identified with the Parliamentary opposition on the 1630s. Although at Christmas 1639, Newport participated with the King in the extravagant masque on the theme of Philogenes, royal "lover of the People",Woodward 1955:310; almost the last of the masques, its words were by Sir William Davenant, its sets and costumes by Inigo Jones.
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Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era. Church music and religious music were profoundly affected by the Protestant Reformation which affected Britain from the 16th century, which curtailed events associated with British music and forced the development of distinctive national music, worship and belief. English madrigals, lute ayres and masques in the Renaissance era led particularly to English language opera developed in the early Baroque period of the later seventeenth century.R. H. Fritze and W. Baxter Robison, Historical dictionary of late medieval England, 1272-1485 (Greenwood, 2002), p. 363; G. H. Cowling, Music on the Shakespearian Stage (Cambridge University Press, 2008), p. 6.
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For his contributions to the history of religions Carrasco was invited to participate in three summer Eranos conferences in Ascona, Switzerland. The organizer during this epoch of Eranos Tagungen was the social philosopher Tilo Schabert who invited Carrasco to speak at conferences on the themes of ‘Guilt – Schuld – La Colpa – La Culpabilité”, 1996, ‘The Language of Masks – Die Sprache der Masken – Il Linguaggio delle Maschere – Le Language des Masques, 1998 and ‘Religions – the religious experience / Religionen – die religiöse Erfahrung / Religions – l'expérience religieuse / Religioni – l'esperienza religiosa” 2004. Carrasco was also present at the research seminar on Eranos held in the fall of 2000 on the Monte Verità. While he didn't deliver a paper, Carrasco took part in the deliberations, and was present throughout the seminar.
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Since the score of a Broadway or film musical is what actually makes the work a musical, it is far more essential to the work than mere incidental music, which nearly always amounts to little more than a background score; indeed, many plays have no incidental music whatsoever. Some early examples of what were later called incidental music are also described as semi-operas, quasi-operas, masques, vaudevilles and melodramas. The genre of incidental music does not extend to pieces designed for concert performance, such as overtures named after a play, for example, Beethoven's Coriolan Overture (written for Heinrich Joseph von Collin's tragedy), or Tchaikovsky's Romeo and Juliet fantasy-overture. Incidental music is also found in religious ceremony, often when officiants are walking from place to place.
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Many designers were required at the Menus-Plaisirs. From the sixteenth century on, a main responsibility of court architects in Europe was the occasional design of lavish ephemeral settings for processional entries, for masques and ballets, for the structures that supported fireworks and illuminations on nights of grand fêtes for dynastic marriages and births, or to design the catafalque for a state funeral. Architects like Leonardo, Giulio Romano and Inigo Jones were engaged in projects that were of great moment in expressing the prestige of the court, but which have left little behind, except designs and some commemorative engravings, produced under the supervision of the Cabinet du Roi.In addition, extensive descriptions were published after each notable event in the Mercure de France.
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As Jill Campbell points out, not only does Fielding critique women in power, but the reversals of gender and power serve as a way to say that private concerns are taking priority over public concerns. In his plays and his novels, women are used as a way to discuss the internal aspects of humans, which includes both emotions and morality. Although Fielding sometimes uses females to express ideal ways to act, he does mock women who abuse their relationship with the internal, emotions, and morality to dominate and assume power. This theme appears as early as Love in Several Masques and continues throughout, especially in prose parody Shamela where Shamela falsifies claims to virtue to control and get ahead in life.
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Ben Jonson achieved success as a purveyor of Court masques, and was talented at playing the patronage game that was an important part of the social and economic life of the era. Those who were purely playwrights fared far less well: the biographies of early figures like George Peele and Robert Greene, and later ones like Brome and Philip Massinger, are marked by financial uncertainty, struggle, and poverty. Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts. The majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and Shakespeare, were the exceptions to the rule.
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276 Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things." This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of modern-day Halloween costume parties. In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination.
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Davenant's-or-Jones's story for the masque involves the Muses of classical Greek mythology. Driven from Greece by Thracian invaders, and then from Italy by the Vandals and Goths, the Nine wander in search of a new home, finally finding it in Britain, "the garden of Britanides," with a welcoming king and queen. The production was unusual in that the comic and grotesque figures in the anti-masques were played by "gentlemen of quality," including the Duke of Lennox and the Earl of Devonshire. This was a major departure from earlier practice: when Jonson first introduced the anti-masque in his The Masque of Queens (1609), the roles in the anti-masque were filled by professional actors, and no aristocrat would have lowered himself to such an activity.
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Brome, a longtime follower of Ben Jonson,Brome makes his allegiance and his debt to Jonson clear in Covent Garden Weeded: Cockbrain cites Adam Overdo from Bartholomew Fair as his "reverend ancestor." must also have been influenced by the fact that Jonson's long-running battle of egos with Jones, in their unhappy partnership as masque makers for the Stuart Court, had come to a head in 1631 with Jones's victory and Jonson's defeat.Jones continued to design masques for the Court through the remainder of Charles's reign, but Jonson never wrote another for royalty. See: Chloridia. Brome focuses his satire on two figures, Rookbill the architect and Cockbrain the justice of the peace; both represent Inigo Jones, who at the time also served as a justice of the peace for Westminster and Middlesex.
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The play telescopes most of Edward II's reign into a single narrative, beginning with the recall of his favourite, Piers Gaveston, from exile, and ending with his son, Edward III, executing Mortimer Junior for the king's murder. Marlowe's play opens at the outset of the reign, with Edward's exiled favourite, Piers Gaveston, rejoicing at the recent death of Edward I and his own resulting ability to return to England. In the following passage he plans the entertainments with which he will delight the king: Upon Gaveston's re-entry into the country, Edward gives him titles, access to the royal treasury, and the option of having guards protect him. Although Gaveston himself is not of noble birth, he maintains that he is better than common people and craves pleasing shows, Italian masques, music and poetry.
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Blake moved to LA and by 1991 was using the name April March.CMJ New Music Monthly, January 1999 - Page 20 on the verge, april marchNew York Rock: From the Rise of The Velvet Underground to the Fall of CBGB, By Steven Blush - Page 304 Lisa Jenio became a member of and bass player for The Liquor Giants.Billboard, October 29, 1994 - Page 72 to 73 Retail, House Of Punk/Flipside Set Un- Masques Legendary Club by Chris Morris The Pussywillows contributed background vocals to Ronnie Spector's 2003 album Something's Gonna Happen.Billboard, October 25, 2003 - Page 52 Preservation Hall Label To Serve Up Jazz History - By Chris Morris They sang on "Communication", "For His Love", "Something's Gonna Happen" and "Whenever You're On My Mind" which were all Marshall Crenshaw compositions.
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Daumier later in his career In addition to his prodigious activity in the field of caricature—the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3,958—he also painted. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of Christ and His Apostles (Rijksmuseum in Amsterdam), or in his Good Samaritan, Don Quixote and Sancho Panza, Christ Mocked, or even in the sketches in the Ionides Collection at South Kensington. There is a room-full of caricatures in the museum Am Römerholz in Winterthur. Don Quixote and Sancho Panza was found as part of the 2012 Munich Art Hoard.
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A masque costume for a knight, designed by Inigo Jones Jones first became famous as a designer of costumes and stage settings, especially after he brought "masques" to the stage. Under the patronage of Queen Anne of Denmark (the consort of King James I), he is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with Ben Jonson for many years, despite a relationship fraught with competition and jealousy: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.)See: The Masque of Augurs; The Staple of News; A Tale of a Tub; Love's Welcome at Bolsover.
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In the following years, Jones made drawings for the Earl of Salisbury's New Exchange in the Strand, where work commenced in June 1608,Giles Worsley, Inigo Jones and the European Classical Tradition (Yale, 2007), p. 7. and the central tower of St. Paul's Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, having perhaps accompanied Salisbury's son and heir, Viscount Cranborne, around France, he appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Prince Henry. He devised the masques the Barriers and the Masque of Oberon for the Prince and was possibly involved in some alterations to St James's Palace.
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It has been widely recognized that Shakespeare's The Winter's Tale shows the influence of Oberon, necessitating the conclusion that the play was written or at least completed after the January 1611 performance of the masque. The main signs of influence in Shakespeare's play are the bear in III,iii and the dance at the sheepshearing in IV,iv, which resembles the dance of satyrs in the masque.Mary Chan, Music in the Theatre of Ben Jonson, Oxford, Clarendon Press, 1980; p. 307. Oberon presents a significant demonstration of the influence that the masques of the era had on the commercial theatre of Shakespeare and his compatriots; "the bears in Mucedorus, Oberon, and The Winter's Tale were all connected...."Melissa D. Aaron, Global Economics, Newark, DE, University of Delaware Press, 2005; p. 216.
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William Davenant produced The Tempest in the same year, which was the first musical adaption of a Shakespeare play (composed by Locke and Johnson). About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera. Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead, he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696).
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The aspect of the machine plays that posterity knows most about is their economics, as this was what the old prompter Downes most vividly recalled when he wrote his Roscius Anglicanus in 1708. The scenery alone for Psyche cost more than £800, which can be related to the entire annual box office takings for the company of £10,000. Ticket prices for these performances would be raised to up to four times normal. Both Psyche and The Tempest actually complained of the production costs in their epilogues, hinting pointedly that the public ought to reward the "poor players" for their risk-taking and for offering splendours that had so far been reserved for royal masques: :We have stak'd all we have to treat you here, :And therefore, Sirs, you should not be severe.
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It was also performed in Vienna (1865) and, in French as Les masques, at the Théâtre de l'Athénée on the rue Scribe in Paris in 1869.Lecomte 1912, p. 100–101. Its success in Italy also saw it spread to countries where Italian singers and companies dominated; hence it was premiered in Calcutta in 1867, Australia in 1874 and New Zealand in 1875.Esmeralda Rocha, Operatic Culture throughout the British Empire during the Victorian Era It was popular within Italy until the end of the nineteenth century, when it began to gradually fall out of favour and, until a recent co-production between theatres in Savona, Piacenza and Rovigo and Wexford Festival Opera in 2007-08, was last heard in Italy in 1932Preview on Teatro Chiabrera, Savona, website (in Italian) or in 1935.
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Thanks to the efforts of prominent members such as William Cecil and Gilbert Gerard, Gray's Inn became the largest of the four by number, with over 200 barristers recorded as members. During this period, the inn became noted for the masques and revels that it threw, and William Shakespeare is believed to have first performed The Comedy of Errors there. The inn continued to prosper during the reign of James I (1603–1625) and the beginning of that of Charles I, when over 100 students per year were recorded as joining. The outbreak of the First English Civil War in 1642 during the reign of Charles I disrupted the systems of legal education and governance at the Inns of Court, shutting down all calls to the bar and new admissions, and Gray's Inn never fully recovered.
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The procession might pause for allegorical figures to address it, or pass beside a genealogical tree or under a temporary classical-style triumphal arch with either painted figures or posed actors perching on it, standing in for statuary in the case of arches. Still more elaborate entertainments began to be staged during or after the civic feast, and by the mid-17th century these could be as spectacular as the staged naval battles, masques, operas and ballets that courts staged for themselves. The court now often had a major role in both designing and financing entries, which increasingly devoted themselves to the glorification of the absolute monarch as hero, and left the old emphasis on his obligations behind; "any lingering possibilities of its use as a vehicle for dialogue with the middle classes vanished".Strong, 1984, p.
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41 At the third "triumph" at Valladolid in 1509, a lion holding the city's coat-of-arms shattered at the King's arrival, revealing the royal arms: the significance could not have been lost, even on those unable to hear the accompanying declamation.Knighton and Morte García 1999:146 During the 16th century, at dates differing widely by location, the tableau vivant was phased out and mostly replaced by painted or sculpted images, although many elements of street-theatre persisted, and small masques or other displays became incorporated into the programmes. The entry in 1514 of Mary Tudor to Paris, as Louis XII's new Queen, was the first French entry to have a single organizer; ten years before Anne of Brittany's entry had been "largely medieval", with five stops for mystery plays in the streets.One Pierre Gringore, apparently appointed by the government.
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Balthasar Gerbier in Het Gulden Cabinet, p 249 Charles, Prince of Wales, 1616, Sir Balthazar Gerbier V&A; Museum no. 621-1882 Sir Balthazar Gerbier (23 February 1592, in N.S. – 1663),The date 1667 given on the tomb erected for him in Hamstead Marshall church, at a later date, seems to be incorrect, as his daughters were applying for alms in 1663, after his death (Colvin). was an Anglo-Dutch courtier, diplomat, art advisor, miniaturist and architectural designer, in his own words fluent in "several languages" with "a good hand in writing, skill in sciences as mathematics, architecture, drawing, painting,Balthazar Gerbier d'Ouvilly on Artnet contriving of scenes, masques, shows and entertainments for great Princes... as likewise for making of engines useful in war."Quoted in Howard Colvin, A Biographical Dictionary of British Architects, 1600-1840, 3rd ed.
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John Blow About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera. Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song.
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Inigo Jones (; 15 July 1573 – 21 June 1652) was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson.
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Kealan Patrick Burke (born in Dungarvan, Ireland) is an author. Some of his works include the novels Kin, Currency of Souls, Master of the Moors, and The Hides (Bram Stoker Award nominee), the novellas The Turtle Boy (Bram Stoker Award Winner, 2004) and Vessels, and the collections Ravenous Ghosts, The Number 121 to Pennsylvania & Others, Theater Macabre and The Novellas. He has also appeared in a number of publications, including Postscripts, Cemetery Dance, Grave Tales, Shivers II, Shivers III, Shivers IV, Looking Glass, Masques V, Subterranean #1, Evermore, Inhuman, Horror World, Surreal Magazine, and Corpse Blossoms. Burke also edited the anthologies: Taverns of the Dead (recipient of a starred review in Publishers Weekly), Brimstone Turnpike, Quietly Now: A Tribute to Charles L. Grant (International Horror Guild Award Nominee, 2004), the charity anthology Tales from the Gorezone and Night Visions 12.
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Love in Several Masques was "neither a success nor a fiasco", and Fielding writes in the preface, "the Play was received with greater Satisfaction than I should have promised myself from its Merit".Hume 1988 qtd. p. 33 The play was later quoted in The Beauties of Fielding more than any of Fielding's other plays, according to Thomas Lockwood, "because for anthology reading purposes it supplied far more extractably witty bits than other Fielding plays more representative or still holding the stage."Fielding 2004 p. 10 Eighteenth and nineteenth century critics did little to discuss the play. David Erskine Baker simply lists the play in Companion to the Playhouse (1764), Charles Dibdin's History of the Stage (1800) makes a short comment on the dialogue, and John Genest said that the play was "moderate" in Some Account of the English Stage (1832).
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He was the Boston representative at an exhibit at the MOMA in 1933 and a regular at his hometown museum, the Concord Art Association. Allen crafted the small and popular Beaux-Arts style bronzes, medical models for Harvard using the "lost wax" process, memorial tablets, portrait busts, portrait reliefs, "imaginative" pieces, garden fountains and life and death masques, as well as large memorials and architectural installations. His best-known large work is the pediment and statues atop the Supreme Courthouse in Manhattan. His sculptures are included in the collections of Boston's Museum of Fine Arts, the Metropolitan Museum, the Farnsworth Art Museum in Rockland Maine, the Concord Art Association, and the Smithsonian American Art Museum in DC. His own favorite piece, the heroic size Egyptian Head, was displayed in the New York World's Fair in 1939.
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He is best known for writing La Musique de piano, a critical census of a large part of the piano repertoire, dealing with some 4,000 works by 272 composers. In his compositions, Guy Sacre tries to reconnect with the French musical tradition: he is the author of Vingt-Quatre préludes and Mélodies after poems by Paul Verlaine, Jean Cocteau and Guillaume Apollinaire. With Billy Eidi he created the association "Contrechants" intended to rediscover an unknown repertoire ("Piano au Palais-Royal" concerts from 1991 to 1995, in collaboration with the Bibliothèque nationale). Guy Sacre is also author of radio broadcasts (Radio Suisse Romande) and conferences centered on themes of musical and literary aesthetics, such as "la musique et les éléments", "Vigny et le silence", "Apollinaire poète du souvenir", and the "masques et bergamasques" which gather Fauré and Debussy around Verlaine and Watteau.
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McFarlane wrote and illustrated 15 of the series' first 16 issues, many issues of which featured other popular Marvel characters such as Wolverine and Ghost Rider in guest roles. Despite his acclaim as an artist, fans found McFarlane's writing to be clumsy, unsophisticated and pretentious, and questioned the wisdom of allowing him to write a new Spider-Man title in the first place. At the same time, editorial had problems with the dark tone of the stories McFarlane was telling, beginning with the inaugural "Torment" storyline, which depicted a more vicious version of the reptilian villain Lizard under the control of the voodoo priestess Calypso. Subsequent storylines such as "Masques" featured Spider-Man confronting the demonic Hobgoblin, while "Perceptions", which involved Spider-Man dealing with police corruption, child rape and murder (a hint of the work he would later do on Spawn), led some stores to refuse to stock the book.
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Simon Robson, DD was Dean of Bristol"The Progresses, Processions, and Magnificent Festivities of King James the First, His Royal Consort, Family and Court: Collected from Original Manuscripts, Comprising Forty Masques and Entertainments, Ten Civic Pageants, Numerous Original Letters, and Annotated Lists of the Peers, who Received Those Honours During the Reign of King James from 1598 to 1617" Nichols, J p646: London, Society of Antiquaries, 1828 from 1598 to 1617.British History On-line Robson was born in West Morton and educated at St John's College, Cambridge.Alumni Cantabrigienses: A Biographical List of All Known Students, Graduates and Holders of Office at the University of Cambridge, from the Earliest Times to 1900, John Venn/John Archibald Venn Cambridge University Press > (10 volumes 1922 to 1953) Part I. 1209–1752 Vol. iii. Kaile – Ryves, (1924) p329 He held livings at Stainton, County Durham, Birkin, Blyborough and Weare, Somerset.
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His definitive two-volume work on Handel operas was published in 1987 and 2006, and set new standards in Handel scholarship and did much to help the revival of stagings of Handel's operas. Dean contributed heavily to a number of musicological publications, including The Musical Times and Opera, as well as to The Listener and record sleeve notes. His writings include studies of French Opera,Including chapter II on French Opera in The New Oxford History of Music – The Age of Beethoven 1790-1820, OUP, 1982. and also Italian Opera before the dominance of Verdi. His reputation rests principally upon his analyses of Handel's output, and Handel’s Dramatic Oratorios and Masques is widely acknowledged as a seminal work not only in Handel scholarship but also in musicology as a whole, thanks to its detailed discussion of original documents and thorough approach to the topic.
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In June 2011, the French government named him Chevalier of the National Order of Merit. He has worked with contemporary composers such as Nicolas Bacri (solo violin sonata, 1999), Karol Beffa (duet for violin and cello Masques, concerto for violin, string quartet Mosaïques), Pascal Dusapin (concerto for violin - Aufgang), Bruno Mantovani (concerto for violin - Jeux d'eau, 2012) and Wolfgang Rihm (concerto for violin - Gedicht des Malers, 2015). In 4 January 2019, he performed a concert during “Winter at Tantora” music carnival running at Al-Ula, a UNESCO World Heritage Site in northwestern Saudi Arabia. On 10 April 2020, during the coronavirus lockdown, Capuçon was one of a handful of people to take part in a Good Friday service led by Michel Aupetit, Archbishop of Paris, in the Cathedral of Notre-Dame de Paris, which was still being rebuilt after the Notre-Dame de Paris fire a year earlier.
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348-351 By the time of the English Restoration (1660), the masque was passé, but the English semi-opera which developed in the latter part of the 17th century, a form in which John Dryden and Henry Purcell collaborated, borrows some elements from the masque and further elements from the contemporary courtly French opera of Jean-Baptiste Lully. In the 18th-century, masques were even less frequently staged. "Rule, Britannia!" started out as part of Alfred, a masque about Alfred the Great co-written by James Thomson and David Mallet with music by Thomas Arne which was first performed at Cliveden, country house of Frederick, Prince of Wales. Performed to celebrate the third birthday of Frederick's daughter Augusta, it remains among the best-known British patriotic songs up to the present, while the masque of which it was originally part is only remembered by specialist historians.
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William Davenant produced The Tempest in the same year, which was the first Shakespeare play to be set to music (composed by Locke and Johnson). About 1683, Blow composed Venus and Adonis, often thought of as the first true English-language opera.R. Parker, The Oxford Illustrated History of Opera (Oxford: Oxford University Press, 2001), p. 42. Purcell produced Dido and Aeneas (1689), often described as the finest in the genre, in which the action is furthered by the use of Italian-style recitative, but much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare's Midsummer Night's Dream in his The Fairy-Queen (1692) or Beaumont and Fletcher dramas in The Prophetess (1690) and Bonduca (1696).
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However, neighborhood protests kept Burbage from using the theater for the Lord Chamberlain's Men performances for a number of years. After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new court of King James. Performance records are patchy, but it is known that the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of The Merchant of Venice.Wells, Oxford Shakespeare, xxii. In 1608 the King's Men (as the company was then known) took possession of the Blackfriars Theatre. After 1608, the troupe performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer.Foakes, 33. The indoor setting, combined with the Jacobean vogue for lavishly staged masques, created new conditions for performance which enabled Shakespeare to introduce more elaborate stage devices.
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A single frontispiece or vignette was sometimes enough to secure the sale of a new book. Always desiring to enlarge the field of his observations, Gavarni soon abandoned his once favorite topics. He no longer limited himself to such types as the lorette and the Parisian student, or to the description of the noisy and popular pleasures of the capital, but turned his mirror to the grotesque sides of family life and of humanity at large. Les Enfants terribles,Les Enfants terribles scènes de Gavarni (1857) Les Parents terribles,Masques et visages Gavarni (1857) Les Fourberies des femmes,Oeuvres choisies (1864) Bureaux de Figaro, Paris La Politique des femmes, Les Mans vengs, Les Nuances du sentiment, Les Rives, Les Petits Jeux de société, Les Fetus Malheurs du bonheur, Les Impressions de ménage, Les Interjections, Les Traductions en langue vulgaire,Oeuvres choisies de Gavarni (1846) Les Propos de Thomas Vireloque, etc.
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Yvonne Brothier Yvonne Brothier (born 6 June 1889 in Saint-Julien-l'Ars, Vienne, died in Paris, 22 January 1967) was a soprano operatic singer who worked principally at the Opéra-Comique, Paris. After singing in Brussels in 1914, she made her début at the Opéra-comique on 13 February 1916 in Lakmé by Delibes.Dictionnaire des interprètes de Alain Pâris - Robert Laffont She went on to create roles in Louis Aubert's La forêt bleue (Red Riding Hood) (French premiere), Graziella (title role), Marcel Samuel-Rousseau's Le Hulla (Dilara), Raoul Laparra's Le joueur de viole (the young girl), Fauré's Masques et Bergamasques, Charles-Henri Maréchal'sCharles-Henri Maréchal Ping-Sin (title role) and Sylvio Lazzari's Le sauteriot (Orti). Her repertoire at the Opéra- Comique also included Rosina (The Barber of Seville), Micaëla (Carmen), Olympia (Les contes d'Hoffmann), Melisande (Pelléas et Mélisande), Mireille, Rosenn (Le roi d'Ys), Minka (Le roi malgré lui) and Zaire (Les Indes galantes).
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The court of Charles I intensified the scale of private masques and other entertainments, but the cities, increasingly at odds with the monarchy, would no longer play along. The Duchy of Lorraine, a great centre of all festivities, was swallowed up in the Thirty Years War, which left much of Northern and Central Europe in no mood or condition for celebrations on the old scale. In France the concentration of power in royal hands, begun by Richelieu, left city elites distrustful of the monarchy, and once Louis XIV succeeded to the throne, royal progresses stopped completely for over fifty years; in their place Louis staged his elaborate court fêtes, redolent of cultural propaganda, which were memorialised in sumptuously illustrated volumes that the Cabinet du Roi placed in all the right hands. Triumphal Entry of George IV of the United Kingdom into Dublin, 1821, with temporary arch Changes in the intellectual climate meant the old allegories no longer resonated with the population.
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A tailor in Stirling modified the play clothes to fit the soldiers.Charles Thorpe McInnes, Accounts of the Treasurer of Scotland: 1566-1574, vol. 12 (Edinburgh, 1970), pp. 405-6, 408. James VI continued this masque tradition, having a masque at Christmas time in 1579 when his violers were dressed in red and yellow taffeta, with "touke" of silver, and play swords and daggers.Roderick J. Lyall, Alexander Montgomerie: Poetry, Politics, and Cutural Change in Jacobean Scotland (Arizona, 2005), p. 66. James VI and Anne of Denmark attended and performed in masques at weddings in the early 1590s, appearing in lightweight taffeta costume with gold and silver "tock" at the weddings of Lilias Murray and John Grant of Freuchie at Tullibardine, and Marie Stewart and the Earl of Mar at Alloa.Jemma Field, Anna of Denmark: The Material and Visual Culture of the Stuart Courts (Manchester, 2020), p. 135: HMC Marquis of Salisbury at Hatfield, vol. 4 (London, 1892), p.
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The Lord Hay in question was James Hay, 1st Earl of Carlisle, one of the early favorites of King James I. Through 1616 Hay had been involved in a major diplomatic embassy to the court of Henri IV in Paris, where Hay had negotiated a potential marriage between James's son and heir Prince Charles, the future Charles I, and a daughter of the French king. (The negotiations were not fruitful in 1616, though a decade later Charles would marry Henri's daughter Henrietta Maria of France.) Hay's embassy was characterized by extraordinary lavish banquets, masques, processions and shows of all types -- a pattern of indulgence that continued when Hay returned to Britain. Lovers Made Men was one of the shows of this period; Lord Hay used it to welcome and entertain the French Ambassador, the Baron de Tour. The performance of the masque was organized for Lord Hay by Jonson's patron Lucy Russell, Countess of Bedford.
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After graduating from Cambridge, Milton returned to live with his parents in Hammersmith, for a long "studious retirement".Shawcross 1993, p. 13. During this period, extending from 1630 to 1638, Milton hesitated over a career and composed his Arcades, A Mask (better known as Comus, a title it acquired only in 1738 at the hands of John Dalton), and Lycidas. Both Arcades and A Mask Presented at Ludlow Castle, 1634 were masques commissioned by the family of John Egerton, 1st Earl of Bridgewater through the influence of Lawes, the Earl's music tutor for his children. Arcades was written to honour Alice Spencer, Countess Dowager of Derby, and performed on her estate at Harefield west of London; the date is debated, perhaps in October 1632 as the family tried to put behind it the scandal of the execution of her son-in-law Mervyn Tuchet, 2nd Earl of Castlehaven for sexual offences,Lewalski, 2003, p. 58. or on her 75th birthday, 4 May 1634.
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6, qtd by Rivero p. xi J. Paul Hunter believes that: > Fielding's plays do not prophesy that he will become a major novelist, but > the direction of his theatrical career does suggest concerns that > increasingly led him away from pure representation [...] Fielding's > separation from the theatre was a forced one, but the expulsion was > fortunate, freeing him from a relationship and commitment that had always > been in some sense against the grain [...] Fielding's way is not really very > dramatic, either in novels or in plays; he never developed stage-likely > objective correlatives, having reserved his artistic energy for the > examining process in which the action is rerun again and again, reviewed, > considered, nearly masticated.Hunter 1975 p. 69 To Albert Rivero, ten of the plays "mark significant moments in [Fielding's] theatrical life": Love in Several Masques, The Temple Beau, The Author's Farce, Tom Thumb, The Tragedy of Tragedies, Rape upon Rape, The Grub Street Opera, The Modern Husband, Pasquin, and The Historical Register.
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The allegory was as true as the facts of surface appearances. Thus, the Papal Bull Unam Sanctam (1302) presents themes of the unity of Christendom with the pope as its head in which the allegorical details of the metaphors are adduced as facts on which is based a demonstration with the vocabulary of logic: "Therefore of this one and only Church there is one body and one head—not two heads as if it were a monster... If, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ." This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition and example of the Bible. In the late 15th century, the enigmatic Hypnerotomachia, with its elaborate woodcut illustrations, shows the influence of themed pageants and masques on contemporary allegorical representation, as humanist dialectic conveyed them.
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The Acts of the Privy Council record that Northumberland paid Ferrers £50, and that the entire entertainment cost about £500. Ferrers is reported by the chronicler Richard Grafton to have outdone his predecessors: > in shew of sundry sightes and devises of rare invention, and in act of > divers enterludes and matters of pastime, played by persons, as not onely > satisfied the common sorte, but also were very well liked and allowed by the > counsayle and other of skill in the like pastimes. Ferrers was reappointed as Lord of Misrule to devise entertainments during the 1552-1553 Christmas season, and as in the previous year there were jousting, a mock midsummer show, a visit to the city of London, and various masques, and on Twelfth Night a triumph of Cupid, Venus, and Mars, devised by Sir George Howard, Master of the Henchmen, and produced by Ferrers. Ferrers was rewarded by a grant of an estate at Flamstead.
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Stow and Grafton were in dispute, as Grafton had plagiarised part of Stow's own chronicle history of England. Bindoff states that Ferrers "almost certainly wrote a number of masques and plays for performance at court and elsewhere" which are lost. Ferrers also contributed verses to Leicester's lavish entertainment of Queen Elizabeth at Kenilworth Castle in July 1575. Confusion concerning Ferrers' literary career was engendered in 1589 by the author of The Arte of English Poesie (thought to be George Puttenham), who in comparing Ferrers to other poets of the reign of Edward VI stated that he was "the principal man in this profession", and in relation to the others "a man of no less mirth & felicity … but of much more skill, & magnificence in his meter, and therefore wrate for the most part to the stage, in Tragedy and sometimes in Comedy or Interlude, wherein he gave the king so much good recreation, as he had thereby many good rewards".
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Throughout her recital career, Ms. Lippincott has also been recognized for her flair for the contemporary. She has premiered many significant contemporary organ works, as well as regularly including 20th-century literature on her recital programs. She has been heard in recital broadcasts of contemporary American music, such as ABC’s Pilgrimage series and The Musical Fund Society of Philadelphia’s presentation of contemporary American music. She played the American premiere of Malcolm Williamson’s Organ Symphony at the National Cathedral in Washington, DC; the American premiere of Iain Hamilton’s Paraphrase for Organ on Epitaph for This World and Time at the Riverside Church, New York City; and first performances of commissioned works: Epiphanies by Daniel Pinkham at House of Hope Presbyterian Church, St. Paul, MN; Masques d’Afrique for Organ, Trumpet and Percussion by C. Curtis-Smith at the Air Force Academy, CO, at a national convention of The American Guild of Organists; and The Salutation of Gabriel for Organ and Horn by Daniel Pinkham at the Peabody Conservatory at a celebration honoring Karen McFarlane.
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As a means of manoeuvring for political as well as court advancement, Villiers commissioned masques in which he was able to promote himself in a leading role. "Command over his body had provided him with the privilege of commanding the moves of a future king". This culminated in connivance by his supporters in licensing Thomas Middleton's notorious play A Game at Chess (1624) as an extension of their anti-Spanish foreign policy. The Duke and Prince Charles are acknowledged as figuring there as The White Duke and The White Knight, while very obvious depictions of the Spanish monarch and his former ambassador in England eventually brought about the play's closure.. Villiers commissioned portraits of himself as "a medium for the cultivation of his personal image". William Larkin's portrait of 1616 records the start of his climb, showing him in the dress of a Knight of the Garter and emphasising the felicity of his stance and sumptuousness of dress. A 1619 portrait by Daniel Mytens the Elder is equally elegant.
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English Miniature from a manuscript of the Roman de la Rose Early music of the British Isles, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons and the carol in the medieval era and English madrigals, lute ayres and masques in the Renaissance era, which would lead to the development of English language opera at the height of the Baroque in the 18th century.
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Born in Bologna, he trained under Giulio Romano in Mantua and became a pupil of Innocenzo da Imola, executing decorations at the Palazzo Te before securing a position in the court of Francis I of France in 1532. Holy Family with St Elizabeth and John the Baptist, now in the Hermitage Museum, St Petersburg, Russia. Together with Rosso Fiorentino he was one of the leading artists to work at the Chateau Fontainebleau (where he is grouped with the so- called "First School of Fontainebleau") spending much of his life there. Following Rosso's death in 1540, Primaticcio took control of the artistic direction at Fontainebleau, furnishing the painters and stuccators of his team, such as Nicolò dell'Abate, with designs. He made cartoons for tapestry- weavers and, like all 16th-century court artists, was called upon to design elaborate ephemeral decorations for masques and fêtes, which survive only in preparatory drawings and, sometimes, engravings. Francis I trusted his eye and sent him back to Italy on buying trips in 1540 and again in 1545.
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Numerous drawings and engravings of the stage sets survive, as well as texts of the libretti and descriptions of the music and action; the 1589 Medici intermezzi were especially well recorded, and "were to be the fount of Italian baroque scenography as well as influencing the development of the stage north of the Alps, above all the Stuart court masques designed by Inigo Jones".Strong:136 The actual content in terms of staging, music, instrumentation, presence of singers, actors, dancers, or mime was highly variable throughout the period, and sometimes all of these features were present. The 1589 intermedi were performed in the recently completed theatre in the Uffizi Palace before an audience of about three thousand, and three further performances were given some days after the end of the wedding festivities. Further significant sets of Medici intermedi were produced for the weddings in 1600 of Henry IV of France and Marie de' Medici, and then in 1608 of Grand Duke Cosimo II and a Habsburg princess, Maria Magdalena of Austria.
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In the Middle Ages, statues and relics of martyred saints were paraded through the streets at Allhallowtide. Some churches who could not afford these things had people dress as saints instead.Youth Spirit 2 (Cheryl Perry), Wood Lake Publishing Inc., page 20The Power of Halloween (Diana Millay), page 47 Some believers continue the practice of dressing as saints, biblical figures, and reformers in Halloween celebrations today."Eve of All Saints", Using Common Worship: Times and Seasons - All Saints to Candlemas (David Kennedy), Church House Publishing, page 42 Many Christians in continental Europe, especially in France, believed that on Halloween "the dead of the churchyards rose for one wild, hideous carnival," known as the danse macabre, which has often been depicted in church decoration.Descriptive Analyses of Piano Works (Edward Baxter Perry), Theodore Presser Company, page 276 An article published by Christianity Today claimed the danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and suggested this was the origin of Halloween costume parties.
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He formed many friendships with artists and his collection The New Orpheus was illustrated by Georg Grosz, Robert Delaunay and Fernand Léger. Marc Chagall illustrated a collection of love poems by both Golls, and Pablo Picasso illustrated Yvan's Élégie d'Ihpetonga suivi des masques de cendre (1949; "Elegy of Ihpetonga and Masks of Ashes"). Goll also published anthologies of other French and German poets, as well as translations. In 1924 he founded the magazine Surréalisme, publishing the first Manifeste du surréalisme and quarreled with André Breton and friends. In 1927, he wrote the libretto for a surrealist opera, Royal Palace, set to music by composer Kurt Weill. He also wrote the scenario for Der Neue Orpheus, a cantata set by Weill, and the opera Mélusine, set by Marcel Mihalovici in 1920 and again, this time in German, by Aribert Reimann in 1971. As Nazi persecution grew in Germany during the 1930s, the theme of the wandering Jew became central to Goll's poetry. In 1936, he published an epic poem entitled La chanson de Jean Sans Terre (the song of John, King of England), with illustrations contributed by Marc Chagall.
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Benger had been a loyal member of the Princess Elizabeth's household at Hatfield during the several imprisonments she had suffered under her sister, Mary I. On 5 June 1555 he had been examined by Secretary Bourne, the Master of the Rolls, Sir Francis Englefield, Sir Richard Read and Doctor Hughes, "upon such points as they shall gather out of their former confessions, touching their lewd & vain practises of calculating or conjuring, presently sent unto them with the said letters."Foxe's Book of Martyrs along with Dr. John Dee In 1559, he was elected to Parliament for Lancaster. Benger produced forty-six plays and masques that dealt with the factional intrigues surrounding the Queen's marriage negotiations between 1560 and 1572. Only eleven of his plays were performed by adult acting troupes, notably the Grey's Inn Men, and it is thought to be his group of child actors to which William Shakespeare refers in Hamlet act ii, scene ii, 'an aery of children, little eyases that cry out on the top of question and are most tyrannically clapped for it: these are now the fashion; and so berattle the common stages that many wearing rapiers are afraid to goose quills and dare scarce come hither.
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