MASQUES PDF, EPUB, EBOOK

Patricia Briggs | 306 pages | 25 Jul 2011 | Penguin Putnam Inc | 9780441019427 | English | New York, United States History of the Masque Genre

Henry VIII often took part in the revels, and masque designs self-consciously factored in the role of the king as spectator, again blurring lines of reality and illusion. While the monarchs supported the masque, the role they played as spectators or participants varied. Throughout the sixteenth century, as Stephen Orgel notes, "the court continued to see all the traditional kinds of masques, from pageants to elaborately costumed dances" In these various productions, however, "as in the conventional masque, the unifying factor is the occasion, the central figure the monarch" Orgel Regardless of the monarch's role and the varying elements that augmented the masque, it remained primarily a form of entertainment that culminates in the revels and celebrates the monarchy. The latter part of the sixteenth-century and the early seventeenth-century saw the development of several distinct elements of the masque, such as the dances that were involved. The dances in which the masqued performers took place became increasingly complex. They could involve the formation of geometrical shapes and intricate patterns. Demaray suggests that the later highly choreographed dances of the late Tudor and early Stuart period had some root in Italian balletto, a "figured dance, performed by masked revelers in Italy during the fifteenth and sixteenth centuries" Such an influence is a likely one, with the increasing amount of communication and travel between England and the Continent. The masque also evolved as a literary form. The masque had developed in some ways as such by the time of Elizabeth's reign, filled with classical references, Petrarchan sonnets, and other recognizable literary conventions Orgel Ben Jonson is generally credited with further advancing the masque as a literary form. Jonson took the poetry of the masque seriously, attempting to create a "work whose text was no longer dependent on its production" While many masques had tended to move in one of two directions, either "wholly literary and dramatic or wholly choreographic and theatrical," Jonson aimed to unify the poetic and spectacular elements into a cohesive whole Jonson also developed the anti-masque, an addition which enabled him to achieve this cohesive whole. The anti-masque introduces comic or grotesque characters and plot material to act as foils to the main masque or to allow the main masque to provide a resolution Cunningham ; Orgel Such a literary convention, the introduction of the evil or grotesque in the anti- masque, served to further enhance the primary purpose of the masque to glorify the court and, in particular, the monarch. Jonson was the preferred court masquer from to , reflecting James I's and Anne's literary tastes and political awareness. Jonson's attempt to unify the various elements of the masque into a stronger literary and dramatic form that suggested the glory of the monarch occurred at a time when the monarchy sought ways to strengthen its authority. Jonson's work manifested in varying degrees the wishes of the court that commissioned his masques; the Stuart monarchs "used the masque to foster an exalted conception of the divine right of kings" Creaser While James I did not perform in the masques, Anne did, and she also began to utilize the masque for more political purposes and "diplomatic occasions" in addition to the traditional celebrations of marriages Barroll Milton's A Maske is used in just such a way, to celebrate an official state occasion. While Jonson was developing the masque as a literary form, his collaborator Inigo Jones was developing the spectacular effects of the masque. A figure well-known for his elaborate set designs for plays and masques, Jones and Jonson worked together on several different masques. Eventually their increasing insistence on their respective elements of the masque as the genre's central focus led to their infamous dispute over whether the masque rightly revolved around the poetry of the text or whether the text merely provided some occasion for the spectacle of the scenery, choreography, and costuming Norbrook , Chambers Perhaps this difference in focus explains why Jonson was not as much of a favorite of Charles I as he was of James I; Barbara Lewalski notes that the Carolinian court seemed to prefer more elaborate masques than the Jacobean court While the monarchs had supported the masque form as a measure to further establish the authority of the monarch, it was not viewed as such in some corners. James I's favoritism and its connection to masquing seemed corrupt to certain members of the nobility; for some, "the court masque had come to be a symbol of the dissolution, rather than the defence, of the traditional hierarchical order" Norbrook With the downfall of the monarchy during the British Civil War, masques fell out of favor for a period of time. A form that was meant primarily to celebrate the monarch and the monarchy was no longer desired Demaray 3. However, the 's saw the revival of the genre, as several masques were performed for official or "court" occasions, as the new government under Oliver Cromwell sought to establish its own authority Norbrook While masques continued to be revived and performed, on the whole the British Civil War marks the end of the masque's evolution as a genre. At the height of its development, the genre included the following main parts: a poetic induction or prologue antimasque s main masque revels epilogue Randall costuming. Although a script for a masque might be only eleven pages, the actual performance could last for hours. Milton's A Maske is well-known for the ways in which it adapts masque conventions. While the typical masque revolves around the glorification of the court, in various ways A Maske seems to subvert such a message. Conventional masques complimented in verse the monarch or member of the nobility they were meant to honor; A Maske, however, does not contain much of this flattery Barber , Leishman Various scholars have noted the fact that while in the typical masque, the honoree is usually represented as the hero, resolving the situation and saving the society from evil, in A Maske the final resolution comes only with the aid of Sabrina, a supernatural force. Other critics have noticed the Lady's unusual emphasis on the benefit of a more equal property distribution toward the end of the masque; the typical masque reflects the hierarchized world of the court Norbrook , Creaser In these ways it would seem the work offers a critique of the court or the ruling body. Milton's A Maske also plays on typical masque conventions in ways that might suggest a commentary on religion. Scholars have noted the masque's dependence on music rather than on visual elements; David Norbrook suggests that this might reflect "Milton's suspicion of idolatry" The masque also consistently merges Christian or biblical references with the conventional masque references to pagan or classical figures. Whereas in the typical masque, the court appears as a safe haven from evil simply by virtue of being, Barbara Lewalski notes that in A Maske , the children must make a pilgrimage to get to that world; thus, "evil is conceived of in Protestant, not Platonic terms" Comus's character, usually a figure for an anti-masque, appears as a protagonist throughout the masque, and contains hints of Paradise Lost's Satan as much as being a pagan deity connected to Bacchus and misrule. Thus, Milton's flouting of generic conventions affects the significance of the religious themes of the work. Bibliography Barroll, Leeds. David Bevington and Peter Holbrook. Cambridge: Cambridge UP, Bevington, David, and Peter Holbrook, eds. The Politics of the Stuart Court Masque. Brown, Cedric. John Milton's Aristocratic Entertainments. 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". As far as we can ascertain the details of the masque, the Queen of Sheba was to bring gifts to the King, representing Solomon, and was to be followed by the spirits of Faith, Hope, Charity, Victory and Peace. Unfortunately, as Harington reported, the actress playing the Queen tripped over the steps of the throne, sending her gifts flying; Hope and Faith were too drunk to speak a word, while Peace, annoyed at finding her way to the throne blocked, made good use of her symbolic olive branches to slap anyone who was in her way. In the 18th-century, masques were even less frequently staged. 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. 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 , 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. While the masque was no longer as popular as it was at its height in the 17th Century, there are many later examples of the masque. During the late 17th century, English semi-operas by composers such as Henry Purcell had masque scenes inset between the acts of the play proper. In the 18th century, William Boyce and Thomas Arne , among other composers, continued to utilize the masque genre mostly as an occasional piece, and the genre became increasingly associated with patriotic topics. There are isolated examples throughout the first half of the 19th century. 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. 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 , although the work is closer to a ballet than a masque as it was originally understood. His designating it a masque was to indicate that the modern choreography typical when he wrote the piece would not be suitable. Constant Lambert also wrote a piece he called a masque, Summer's Last Will and Testament , for orchestra, chorus and baritone. His title he took from Thomas Nash , whose masque [6] was probably first presented before the Archbishop of Canterbury , perhaps at his London seat, Lambeth Palace , in From Wikipedia, the free encyclopedia. Courtly entertainment with music and dance. This article is about 16th- and early 17th-century court entertainments. For other uses, see Masque disambiguation. Burden, Michael Music Review. Sabol, Andrew J. An edition of sixty-three items of music for the English court masque from to , Brown University Press. Index Outline. Dance and disability Dance and health Dance costume Dance etiquette Dance notation Dance in film Dance in mythology and religion Dance occupations Dance on television Dance research Dance science Dance technology Dance troupe Dancing mania History of dance Women in dance. List of dances. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikisource has the text of the New International Encyclopedia article Masque. Masque | Definition of Masque by Merriam-Webster

The reputation for unseemly behavior, unescorted women and assignations motivated a change of name, to the Venetian ridotto , but as "The Man of Taste" observed in ;. A standard item of masquerade dress was a "Vandyke", improvised on the costumes worn in the portraits of Van Dyck : Gainsborough's Blue Boy is the most familiar example, and a reminder of the later 18th-century popularity in England for portraits in fancy dress. Throughout the century, masquerade dances became popular in Colonial America. Its prominence did not go unchallenged; a significant anti- masquerade movement grew alongside the balls themselves. The anti-masquerade writers among them such notables as Samuel Richardson held that the events encouraged immorality and "foreign influence. Masquerade balls were sometimes set as a game among the guests. The masked guests were supposedly dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each other's identities. This added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls. One of the most noted masquerade balls of the 20th century was that held at Palazzo Labia in Venice on 3 September , hosted by Carlos de Beistegui. It was dubbed "the party of the century. Another famous ball was The Black and White Ball. Masquerade masks were worn delicately by the prosperous class at balls. Masquerade masks had many uses including hiding one's identity, and using different colour to express one's freedom of speech and voice one's emotions and opinions without judgement. The main types of masks included masks with a stick which one could hold to keep the mask in front of their face , the head mask, the full-face mask, and the half face mask. Today, in French Guiana, throughout the Carnival period, masked balls known as masked balls take place every weekend. It is about Touloulous balls, where the Touloulous women is completely disguised and unrecognizable, where, recently this is the Tololos men who is disguised. A new resurgence of masquerade balls began in the late s in North America. More recently, the party atmosphere is emphasized and the formal dancing usually less prominent. In present times, masquerade masks are used for costumes during Halloween. Masquerade masks are sold in a wide range of stores in different designs, and colors. The picturesque quality of the masquerade ball has made it a favorite topic or setting in literature. Edgar Allan Poe 's short story " The Masque of the Red Death " is based at a masquerade ball in which a central figure turns out to be his costume. A masquerade ball is central to the plot of Mikhail Lermontov 's play Masquerade. The play was censored and never staged during Lermontov's lifetime, partly because of the implied criticism of the masquerade balls staged by the aristocratic Engelhardt family. The book, musical and most film adaptations of The Phantom of the Opera have a scene at a masked ball. The video game " Dishonored " has a mission called Lady Boyle's Last Party, taking place at a masquerade where the primary objective is discerning the identity of Lady Boyle, a masked party-goer. The video game " Assassin's Creed II " has a series of missions called Carnevale set during " Venetian Carnival " where the primary objective is to gain access to one of the more prestigious masquerade balls ending in the mission called Having a Blast which primarily takes place in the masquerade ball. From Wikipedia, the free encyclopedia. For other uses, see Masked ball disambiguation. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Society and culture. Costume design Costume designer Spirit gum. Elements and methods. Plague doctor costume Modern dress. Sesame Street Zoobilee Zoo. Batsuit utility belt Ghostface Girdle of Gaea. Category:Costume designers. Fashion portal. Retrieved Vanity Fair. Do you know the person or title these quotes desc Login or Register. Save Word. Definition of masque. Examples of masque in a Sentence Recent Examples on the Web Plus, scalp scrubs, serums, and treatments can be just as fun as a hair masque. First Known Use of masque , in the meaning defined at sense 1. History and Etymology for masque Middle French masque — more at mask. Keep scrolling for more. Learn More about masque. Time Traveler for masque The first known use of masque was in See more words from the same year. More Definitions for masque. English Language Learners Definition of masque. Kids Definition of masque. Comments on masque What made you want to look up masque? Get Word of the Day daily email! Test Your Vocabulary. Love words? Need even more definitions? The awkward case of 'his or her'. Masque - Wikipedia

May 1, International Journal of Infection Control. June 6, April 3, Are you wearing yours the right way? Cleveland Clinic. June 4, Mayo Clinic. May 28, Johns Hopkins School of Medicine. June 25, June 5, Filtration properties of cloth and cloth masks: a narrative review. Food and Drug Administration. April 26, Retrieved May 21, Retrieved May 8, Annals of Occupational Hygiene. Oxford University Press. European Centre for Disease Prevention and Control. April 8, April 22, BMJ Open. The Economist. Retrieved April 20, Method for evaluating effectiveness of surgical masks. J Bacteriol. The efficiency of surgical masks of varying design and composition. Br J Surg. Disaster Medicine and Public Health Preparedness. Pai, Madhukar ed. June 28, Such costumed dances were a special luxury of the Ducal Court of Burgundy. Masquerade balls were extended into costumed public festivities in Italy during the 16th century Renaissance Italian, maschera. They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival. With the fall of the Venetian Republic at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether. They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results. The same event was the basis of Giuseppe Verdi 's opera A Masked Ball , although the censors in the original production forced him to portray it as a fictional story set in Boston. Most masks came from countries like Switzerland and Italy. A Swiss count who arrived in Italy in , is credited with introducing to London the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, with the first being held at Haymarket Opera House. The reputation for unseemly behavior, unescorted women and assignations motivated a change of name, to the Venetian ridotto , but as "The Man of Taste" observed in ;. A standard item of masquerade dress was a "Vandyke", improvised on the costumes worn in the portraits of Van Dyck : Gainsborough's Blue Boy is the most familiar example, and a reminder of the later 18th-century popularity in England for portraits in fancy dress. Throughout the century, masquerade dances became popular in Colonial America. Its prominence did not go unchallenged; a significant anti- masquerade movement grew alongside the balls themselves. The anti-masquerade writers among them such notables as Samuel Richardson held that the events encouraged immorality and "foreign influence. Masquerade balls were sometimes set as a game among the guests. The masked guests were supposedly dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each other's identities. This added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls. One of the most noted masquerade balls of the 20th century was that held at Palazzo Labia in Venice on 3 September , hosted by Carlos de Beistegui. It was dubbed "the party of the century. Another famous ball was The Black and White Ball. Masquerade masks were worn delicately by the prosperous class at balls. Masquerade masks had many uses including hiding one's identity, and using different colour to express one's freedom of speech and voice one's emotions and opinions without judgement. The main types of masks included masks with a stick which one could hold to keep the mask in front of their face , the head mask, the full-face mask, and the half face mask. Today, in French Guiana, throughout the Carnival period, masked balls known as masked balls take place every weekend. It is about Touloulous balls, where the Touloulous women is completely disguised and unrecognizable, where, recently this is the Tololos men who is disguised. A new resurgence of masquerade balls began in the late s in North America. More recently, the party atmosphere is emphasized and the formal dancing usually less prominent. Keep scrolling for more More Definitions for masque masque. Please tell us where you read or heard it including the quote, if possible. Test Your Knowledge - and learn some interesting things along the way. Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Whereas 'coronary' is no so much Put It in the 'Frunk' You can never have too much storage. What Does 'Eighty-Six' Mean? We're intent on clearing it up 'Nip it in the butt' or 'Nip it in the bud'? We're gonna stop you right there Literally How to use a word that literally drives some pe Is Singular 'They' a Better Choice? Name that government! Or something like that. Can you spell these 10 commonly misspelled words? Do you know the person or title these quotes desc

Masquerade ball - Wikipedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Society and culture. Costume design Costume designer Spirit gum. Elements and methods. Plague doctor costume Modern dress. Sesame Street Zoobilee Zoo. Batsuit utility belt Ghostface Girdle of Gaea. Category:Costume designers. Fashion portal. Retrieved Vanity Fair. Retrieved 18 December Venetian Masks Collections. Samantha Peach Masquerade Masks. Graham's Magazine. Party topics. Bachelor party Bachelorette party Bridal shower Engagement party Wedding reception. State banquet Ball Debutante ball Hunt ball Symposium. World's fair State fair County fair Trade fair. Picnic Block party Subway party Tailgate party. Society portal Media Category. Bra Camisole Undershirt. Clothing portal. Categories : Masquerade balls. Hidden categories: Articles needing additional references from February All articles needing additional references. Namespaces Article Talk. Do you know the person or title these quotes desc Login or Register. Save Word. Definition of masque. Examples of masque in a Sentence Recent Examples on the Web Plus, scalp scrubs, serums, and treatments can be just as fun as a hair masque. First Known Use of masque , in the meaning defined at sense 1. History and Etymology for masque Middle French masque — more at mask. Keep scrolling for more. Learn More about masque. Time Traveler for masque The first known use of masque was in See more words from the same year. More Definitions for masque. English Language Learners Definition of masque. Kids Definition of masque. The dances in which the masqued performers took place became increasingly complex. They could involve the formation of geometrical shapes and intricate patterns. Demaray suggests that the later highly choreographed dances of the late Tudor and early Stuart period had some root in Italian balletto, a "figured dance, performed by masked revelers in Italy during the fifteenth and sixteenth centuries" Such an influence is a likely one, with the increasing amount of communication and travel between England and the Continent. The masque also evolved as a literary form. The masque had developed in some ways as such by the time of Elizabeth's reign, filled with classical references, Petrarchan sonnets, and other recognizable literary conventions Orgel Ben Jonson is generally credited with further advancing the masque as a literary form. Jonson took the poetry of the masque seriously, attempting to create a "work whose text was no longer dependent on its production" While many masques had tended to move in one of two directions, either "wholly literary and dramatic or wholly choreographic and theatrical," Jonson aimed to unify the poetic and spectacular elements into a cohesive whole Jonson also developed the anti-masque, an addition which enabled him to achieve this cohesive whole. The anti-masque introduces comic or grotesque characters and plot material to act as foils to the main masque or to allow the main masque to provide a resolution Cunningham ; Orgel Such a literary convention, the introduction of the evil or grotesque in the anti-masque, served to further enhance the primary purpose of the masque to glorify the court and, in particular, the monarch. Jonson was the preferred court masquer from to , reflecting James I's and Anne's literary tastes and political awareness. Jonson's attempt to unify the various elements of the masque into a stronger literary and dramatic form that suggested the glory of the monarch occurred at a time when the monarchy sought ways to strengthen its authority. Jonson's work manifested in varying degrees the wishes of the court that commissioned his masques; the Stuart monarchs "used the masque to foster an exalted conception of the divine right of kings" Creaser While James I did not perform in the masques, Anne did, and she also began to utilize the masque for more political purposes and "diplomatic occasions" in addition to the traditional celebrations of marriages Barroll Milton's A Maske is used in just such a way, to celebrate an official state occasion. While Jonson was developing the masque as a literary form, his collaborator Inigo Jones was developing the spectacular effects of the masque. A figure well-known for his elaborate set designs for plays and masques, Jones and Jonson worked together on several different masques. Eventually their increasing insistence on their respective elements of the masque as the genre's central focus led to their infamous dispute over whether the masque rightly revolved around the poetry of the text or whether the text merely provided some occasion for the spectacle of the scenery, choreography, and costuming Norbrook , Chambers Perhaps this difference in focus explains why Jonson was not as much of a favorite of Charles I as he was of James I; Barbara Lewalski notes that the Carolinian court seemed to prefer more elaborate masques than the Jacobean court While the monarchs had supported the masque form as a measure to further establish the authority of the monarch, it was not viewed as such in some corners. James I's favoritism and its connection to masquing seemed corrupt to certain members of the nobility; for some, "the court masque had come to be a symbol of the dissolution, rather than the defence, of the traditional hierarchical order" Norbrook With the downfall of the monarchy during the British Civil War, masques fell out of favor for a period of time. A form that was meant primarily to celebrate the monarch and the monarchy was no longer desired Demaray 3. However, the 's saw the revival of the genre, as several masques were performed for official or "court" occasions, as the new government under Oliver Cromwell sought to establish its own authority Norbrook While masques continued to be revived and performed, on the whole the British Civil War marks the end of the masque's evolution as a genre. At the height of its development, the genre included the following main parts: a poetic induction or prologue antimasque s main masque revels epilogue Randall costuming. Although a script for a masque might be only eleven pages, the actual performance could last for hours. Milton's A Maske is well-known for the ways in which it adapts masque conventions. While the typical masque revolves around the glorification of the court, in various ways A Maske seems to subvert such a message. Conventional masques complimented in verse the monarch or member of the nobility they were meant to honor; A Maske, however, does not contain much of this flattery Barber , Leishman Various scholars have noted the fact that while in the typical masque, the honoree is usually represented as the hero, resolving the situation and saving the society from evil, in A Maske the final resolution comes only with the aid of Sabrina, a supernatural force. Other critics have noticed the Lady's unusual emphasis on the benefit of a more equal property distribution toward the end of the masque; the typical masque reflects the hierarchized world of the court Norbrook , Creaser In these ways it would seem the work offers a critique of the court or the ruling body. Milton's A Maske also plays on typical masque conventions in ways that might suggest a commentary on religion. https://uploads.strikinglycdn.com/files/d4f8b981-511b-448c-aa8a-021d4fb767e6/unter-haien-751.pdf https://files8.webydo.com/9586535/UploadedFiles/87E63176-BF2A-E5E1-C181-60C4880865E6.pdf https://static.s123-cdn-static.com/uploads/4640784/normal_601edfb78553f.pdf https://files8.webydo.com/9587363/UploadedFiles/1EA1EC65-87F4-939D-6233-8CF231FAFEBA.pdf