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4 f2015 Stuart Theatre - Masques
- 2. Theatres • Outdoor (Globe): For classes from wealthy to working poor • Indoor (Blackfriars): Middle and upper class • Masques: Monarchs, nobility, guests
- 3. Blackfriar’s Theatre, The Tempest Conjectured view
- 6. Purpose of Masques • Focus on contemporary issues through classical and allegorical models • Assertion of power of court • Show off culture to foreign ambassadors
- 7. Italian Precedent Nymph's costume, Bernardo Buontalenti, 1589 V&A
- 8. Nymph Daniel, Tethys Festival Inigo Jones 1610
- 9. Masque for the Kings of England and Denmark Solomon and the Queen of Sheba, 1606 The entertainment and show went forward, and most of the presenters went backward, or fell down; wine did so occupy their upper chambers. Now did appear, in rich dress, Hope, Faith, and Charity: Hope did assay to speak, but wine rendered her endeavours so feeble that she withdrew, and hoped the King would excuse her brevity: Faith was then all alone, for I am certain she was not joined with good works, and left the court in a staggering condition: Charity came to the King's feet, and seemed to cover the multitude of sins her sisters had committed . . . She then returned to Hope and Faith, who were both sick and spewing in the lower hall. John Harington
- 10. Set Design House of Fame Inigo Jones
- 11. The Tempest Masque scene conjured by Prospero for the marriage of Ferdinand and Miranda. Act IV, Scene 1
- 12. Love Freed from Ignorance and Folly 1611 Ben Jonson, writer: Inigo Jones, design: Alfonso Ferrabosco, music – Last masque where Anne performs – Put on for French ambassador – £40 Jonson and Jones for the script and designs £20 for composer £50 ”Dancing master” who taught the ladies their choreography, £5 Musical assistants for arranging the songs for lutes and violins. £2/each The five boys; the Sphinx, Cupid, and the Graces £1/each Twelve actors (male) who played the she-fools • Total Cost £719 Video Collaboration of dancers from the Royal Ballet, with Company XIV and the Wiltons Music Hall, first ever recreation of Ben Jonson & Inigo Jones masque for fundraiser
- 13. Opposition to Theater Royal censorship—political Incest, rape, adultery,. sex and bathroom humor permissible 1615-19 ~16% of towns forbid visiting companies 1620-24 ~36% forbid visiting companies • Arguments about disorder, traffic During the reign of Charles I opposition to theater would rise on political and moral grounds
- 14. A First • Female performers at an English theater (Salisbury Court) • French company; English boos
- 15. Theater in the Streets Pageants and Monarchs • James I left Scotland in 1603 promising to return every three years • Return in 1617 – Speeches – Receives money – Banquet – No public show
- 16. Royal Theater, Banqueting House, Whitehall
- 18. Charles I Visit to Scotland • 1633 Only visit before crisis • Purpose: Coronation as King of Scotland • Cost: £100,000 plus £127,000 for new parliament building
- 19. Pageant of Space and Time Space: From Edinburgh to the Planets Time: Romans and Picts to the New World, New Scotland. Seven principal tableaux I. An arch depicting the City of Edinburgh and the Genius of the City II. Second arch representing the countryside of Scotland III. Previous Scottish kings and Mercury IV. At the town cross Bacchus and such figures as Pomona, Venus and Ceres. V. The Mountain of Pamassus included Apollo and the Muses, as well as a selection of Scottish worthies. VI. At the eastern gate , heaven with the seven planets and Endymion as a speaker VII. Fame and Honor standing above a statue of King James.
- 20. The Sun King returns to London
- 21. The King and Queen of Theater 1631 Love's Triumph Through Callipolis – Written by: Ben Jonson; Design by: Inigo Jones – Starring Charles 1631 Chloridia: Rites to Chloris and Her Nymphs – Written by: Ben Jonson; Design by: Inigo Jones – Starring Henrietta Maria
- 22. Costume design for Queen Henrietta Maria as Chloris
- 23. Another First 1632 Tempe Restored First English stage performance by a woman (French) in a speaking role Henrietta has speaking role in 1633 Influences of the Stars Tempe Restored Costume designs
- 24. William Prynne and the Theater • Written before Henrietta’s performance – Practice of boy actors representing women – ”Obscene lascivious love songs, most melodiously chanted out upon the stage....” – Section on Women-actors notorious whores • Deemed anti-Queen
- 25. Punishment William Prynne in the pillory from Cassell's Illustrated History of England, vol. 3 (1865) S L Sedititious Libel or Stigmata Laudis
- 26. General View of Women “It will beseeeme you, Gentlewomen . . . in publike consorts to observe rather than discourse. It suites not with her honour, for a young woman to be prolocutor. But especially, when either men are in presence, or ancient Matrons, to whom shee owes a civill reverence, it will become her to tip her tongue with silence” Richard Brathwait, The English Gentlewoman
- 27. Triumph of Peace 1634 • Initial performance at Whitehall put on by Inns of Court • Repeat at Merchant Taylor’s Court • Costs – Music £1000 – Costumes (100) at £100 each. – Toal cost £21,000
- 28. Luminalia 1638 Venue: Temporary structure because of fear of damage to Banqueting House Opening: a moonlit forest scene with deep shadows of trees and artificial moonlight glinting off a "calm river.” Ending: An "aerial ballet" Henrietta Maria, portraying the "Earthly Deity," descended from the clouds in "a glory of rays, expressing her to be the queen of brightness.”
- 29. Proscenium stage and wings
- 30. Ship on a rough sea
- 31. Descent from the Clouds
- 32. Salmacida Spolia 1640 • Last masque • Written by Davenant; Designs by Inigo Jones • Last masque before the theaters are closed Sketch of witches
Editor's Notes
- "Where the bee sucks," was set by Robert Johnson, a contemporary of Shakespeare. In this performance, the singer is accompanied by recorder and lute.
- The short, clinging skirts were much appreciated by male audiences and were a cause of great excitement when they first appeared at the French court in 1548. Bernardo Buontalenti's design of a nymph's costume (Fig. 2) for an intermezzo performed at the wedding of Virginia de Medici and Cesare d'Este in 1589 is preserved in the Print Room of the Victoria and Albert Museum. She wears the Renaissance version of antique dress, a more lavish and complex costume
- has double doors within a large central arch, above which sit the twelve masquers on their pyramidal throne. The figures on the roof are probably musicians; the two deities on either side of the cornice are identifiedb y Jonson as «eminent figureso f Honor and Virtue».T he facade is adorned with statues. Those on the lower tier represent «the most excellent poets, as Homer, Virgil,L ucan, etc., as being the substantial supporters of Fame», while those on the upper [tier] are «Achilles,A eneas,C aesar, and those greath eroes which these poets had celebrated Jonson describes the House of Fame created by Jones as a machina versatilis, a kind or revolving stage, and that, in addition to the standard representations of huomini famosi, the allegorical figures were derived from Ripa's Iconologia and the Hieroglyphica of Horapollo; this means, there «appeared Fama bona as she is described in Iconolog. di Cesare Ripa, attired in white, with white wings, having a collar of gold about her neck and a heart hanging at it which Horus Apollo in his Hieroglyp• interprets the note of good fame»
- three spirits appear in the shapes of the mythological figures of Iris (Juno’s messenger and the goddess of the rainbow), Juno (queen of the gods), and Ceres (goddess of agriculture). This trio performs a masque celebrating the lovers’ engagement. First, Iris enters and asks Ceres to appear at Juno’s wish, to celebrate “a contract of true love.” Ceres appears, and then Juno enters. Juno and Ceres together bless the couple, with Juno wishing them honor and riches, and Ceres wishing them natural prosperity and plenty. 1:26 to 1:32 on video
- Anne's ladies in waiting as Daughters of the Morn, with Anne herself as the Queen of the Orient. The anti-masque correspondingly featured twelve Follies or "she-fools." The masque begins with a long conversation between Cupid and a Sphinx; the conceit is that the Sphinx has captured "Love," who must in turn be liberated from this captivity — hence the title. (Cupid's nakedness was simulated with a flesh-colored satin costume.) Cupid is freed by the priests of the Muses, who clue the god to the correct answers to the Sphinx's riddles (which are "Britain" and "King James"). The Queen and Daughters of the Morn also must be released from the Sphinx's imprisonment. Once they are released they appear in a cloud in the sky above their former prison.
- References for future Puritanism and the Closing of the Theaters in 1642 see p. 190
- The Apotheosis of James I The central ceiling canvas faces the entrance, so was directed towards a general audience rather than the king himself. This large oval of The Apotheosis of James I shows the King holding a sceptre with his foot on an imperial globe, being raised aloft by Justice. It is said to celebrate the Stuart kings' belief in absolute monarchy and the 'Divine Right of Kings'. As James I proclaimed to Parliament 'The State of monarchy is the supremest thing upon earth. For kings are not only God's Lieutenants upon earth and sit upon God's throne, but even by God himself they are called gods'. The long panels on either side of this canvas show paintings of Genii, supernatural creatures, bearing a Garland and Genii playing with animals. - See more at: http://www.hrp.org.uk/BanquetingHouse/The_storiesRubensceilingpaintings#sthash.syKpLKZ4.dpuf
- Representation of the City of Edinburgh to a representation of of Scotland to Mount Parnassus and finally the Planets temporal scope moves from the time of the Romans and Picts to the New World, embodied in New Scotland.
- Return to London, 1633, cast and chased silver medal, unsigned (by N. Briot), 41.5mm, king on horseback left, holding sceptre in right hand, Eye of Providence above, plumed helmet on flowery ground below, :1633: below, rev. view of the city of London, sun above, a small E to the left of the sun (MIi 266/62, E.124) This medal was struck by Briot in Edinburgh. Charles I, the return to London, cast silver medal, 1633, by Nicolas Briot, king on horseback left, holding sceptre in right hand, Eye of Providence above, plumed helmet on flowery ground below, CAROLVA AVGVSTISS ET INVICTISS MAG BRIT FRAN ET HIB MONARCHA - 1633, rev., a panoramic view of the city of London, with St Paul`s and old London Bridge, sun above, a small E to its left,,SOL ORBEM RADIANS SIC REX ILLVMINAT URBEM,
- Another scene Here out of the Earth, ariseth a Hill, and on top of it, a globe, on which Fame is seene standing, with her trumpet in her hand; and on the Hill, are seated four Persons, presenting Poesie, History, Architecture, and Sculpture: who together with the Nymphs, Floods, and Fountaynes, make a fhll Quire; a which, Fame begins to mount, and moving her wings, flyeth, singing, up to Heaven.
- Charles himself was clearly sensitive to the potential for censure of such activities-at the performances of both plays entry was by invitation only and carefully restricted. In the case of the French play he expressly forbade publication of the text (unlike masque libretti), and Montagu’s play was not entered in the Stationers’ Register until 1658
- Cressy, David. "Book Burning in Tudor and Stuart England." The Sixteenth century journal (2005): 359-374. Walker, Kim. "New Prison: Representing the Female Actor in Shirley's The Bird in a Cage (1633)." English Literary Renaissance 21.2 (1991): 385-400. Prynne had also condemned long hair on men and makeup on women.
- Burning his book in front of him. Taking off his ears branding.
- The purpose of the masque, in political terms, was to proclaim the authority of the king and celebrate his achievements through representing his role in a constant struggle between virtue and vice. Charles took on roles that displayed his wisdom and justice, whilst the queen was presented as the embodiment of pure love and beauty. Between them they would create order and harmony by subduing the disruptive forces of the anti-masque, such as puritanism and popular rebellion. The final masque, the Salmacida Spolia of 1640, was typical, with a closing scene which showed king and queen dancing with their attendants before a backdrop of ideally proportioned classical buildings linked together by a bridge, whilst the chorus sang of their unifying influence.