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  • noun

Synonyms for masque

a party of guests wearing costumes and masks

References in periodicals archive ?
Where her interest in cross-readings and cross-fertilization from wider Caroline cultural contexts does pay off, however, is in her setting of Massinger's theme of "Virginian Indians" in this play alongside recent court masques and their interest in New World contexts.
In addition, I would also like to examine how Jacobean court masque functions as an artistic framework of the play and how the layer of darkness, as one of the main themes of the play, is displayed in 'McGuinnessesque' masque, as the caption to one scene, 'the Masque of Darkness', suggests.
Lawes's more dramatic, declamatory approach to song of course also served him well in his music for the court masques, where the arioso style often juxtaposes shorter, homophonic choruses.
For more on the structure the court masques, see Orgel, The Jonsonian Masque, pp.
But as discussed in Melanie Doderer-Winkler's beautifully illustrated book, Magnificent Entertainments - Temporary Architecture for Georgian Festivals, the Jacobean court masques were basically displays of prodigious spending used by the wily monarch to underline Britain's fiscal strength and dependability.
The importance of precedence in seating at court masques has been well-documented, and Beaumont and Fletcher reproduced that concern on the commercial stage.
In nine sets of essays and responses, contributors describe how fashion produced identities as sharp producers and entrepreneurs, as mainstream servants of the public, and as rebels, how performing bodies defined modernity in seventeenth-century court masques, on stage in the persons of Victorian actresses and in the mannequin parades of the early twentieth century, and how processes of modernity were expressed by fashion in the concept of the "second skin," in assemblage fashion, and in entropy and emergence.
More than thirty years ago, Stephen Orgel rejuvenated the study of Stuart court masques by treating these spectacles as serious political documents.
The title - being not quite what one would expect (Courtly, not Court) - allows him to look beyond the court masques of Thomas Campion, Ben Jonson, Aurelian Townshend, Thomas Carew, and William Davenenant, and widen his scope to include John Milton's Comus and works like Campion's "Brougham Castle Entertainment of 1617.
The second Henry appeared in one of Jonson and Jones's court masques, written for the wedding of the Earl of Essex in 1606.
She begins by summarizing the various forms of masques (Jonsonian court masques, masques performed at the Inns of Court, and country-house masques), and then proceeds to lay out the various dramatic and dramaturgical functions of masques-within (dramatic triggers, emblematic illustrations of themes or concepts, structural dramaturgical elements, and allegorical satiric mirrors), before turning to the masques within Massinger's plays.
Concluding the book are two pieces on court masques and entertainments.
It is difficult for twentieth-century eyes and ears to imagine the spectacle involved in the original productions of court masques and ballets de cour.
As Tomlinson rightly points out, Restoration actresses were not a break with tradition, but the logical completion of a process started in the early Stuart courts: as she notes, "women's increasing cultural visibility" led to concern "with issues of liberty and civility that derive from a sympathetic interest in female selfhood" (3); the "sexual realism" and fascination with women's wit and ingenuity on the Restoration stage can trace its origins to Jacobean and Caroline developments in court masques and stage plays.
Beginning with female actors in court masques and ending with Katherine Philips's translations of Pierre Corneille's tragic plays, Tomlinson takes up a wide range of topics, theatrical and gendered.