(redirected from Stuart Masque)
Also found in: Dictionary, Encyclopedia.
Graphic Thesaurus  🔍
Display ON
Animation ON
  • noun

Synonyms for masque

a party of guests wearing costumes and masks

References in periodicals archive ?
(11) Andrew Sabol (ed.), Four Hundred Songs and Dances from the Stuart Masque (Providence, Rhode Island, 1978), 12.
(68) For a full discussion of this issue, see Jennifer Nevile, '"These bookes, as I heare, are all cawled in": Dance and Choreographic Records from the Stuart Masques', Early Theatre, 12.1 (2009), 51-68.
7) a modern adaptation of historical dance (in the film Elizabeth) in which the dance consultant, drawing freely on authentic sources to realize the director's interpretation, actually showed an unpedantic theatrical professionalism that perhaps had its roots in the Stuart masque.
In The Early Stuart Masque, Ravelhofer reattaches "body" to "soul" by situating the literary evidence of masque productions within a groundbreaking cultural and practical study of the ephemerae of early modern dance and costume.
Appropriately, then, The Early Stuart Masque is divided into three sections: "Dance," "Costume," and, finally, "Case Studies," which presents in-depth readings of a selection of particularly significant entertainments, including two Jonsonian masques (The Masque of Queens and Oberon) and a fascinating wedding masque intended for performance in the Ottoman Empire in the 1650s.
The verbal component of the Stuart masque, at least within the masque proper, was hence essentially dominated by ekphrasis.
The special position of the monarch is made even more emphatic in the Stuart masque, especially after 1605 and the importation into English court entertainment of perspective settings.
As the Stuart masque evolved--novelty and surprise being a driving force in its development--attitudes to the dancing shifted, and it becomes important to distinguish between different groups of performers.
For the music one will still need to turn to Andrew Sabol's Four Hundred Songs and Dances from the Stuart Masque (Hanover, N.H.: University Press of New England, 1982), but for the way in which music (and dance) functions within the masque and for contextual range and depth, this is it.
Andrew Sabol's most significant contribution to masque scholarship is his Four Hundred Songs and Dances from the Stuart Masque (1978), which, for all its faults, has made the masque repertory widely accessible.
(26) Seminal works on dancing in the drama of the period, including Charles Read Baskervill's The Elizabethan Jig and Related Song Drama (Chicago, 1929), Alan Brissenden's Shakespeare and the Dance (London, 1981), and Barbara Ravelhofer's The Early Stuart Masque: Dance, Costume, and Music (Oxford, 2006), do not make any reference to the reel at all.
Regarding the music itself, Walls reconstructs and interprets the significance of the dances differently from Andrew Sabol, whose influential 1978 anthology Four Hundred Songs and Dances from the Stuart Masque includes essays on the performers, the historical context, and the place of the music in the masques.
In anatomizing closure, Hodgdon makes a pertinent contrast between the apotheosis of absolutism in the Stuart masque and the interrogation of such representations in the history plays.
The early Stuart masque was a multimedia spectacle: a rich and complex blend of poetry, music, scenery, lighting, costume, and dance.
On the whole, however, this is an excellent book, important in its implications for our understanding of the Stuart masque and valuable in its distillation of and expansion upon Raylor's earlier articles announcing his discovery.