Masques

Stuart Theater

Theatres

• Outdoor (Globe): For classes from wealthy to working poor

• Indoor (Blackfriars): Middle and upper class

• Masques: Monarchs, nobility, guests

Blackfriar’s Theatre, The TempestConjectured view

London Theaters

Salisbury Court

Cockpit redesigned by InigoJones, 1617

Purpose of Masques

• Focus on contemporary issues through classical and allegorical models

• Assertion of power of court

• Show off culture to foreign ambassadors

Italian PrecedentNymph's costume,Bernardo Buontalenti,1589V&A

NymphDaniel, Tethys FestivalInigo Jones1610

Masque for the Kings of England and DenmarkSolomon 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

Set DesignHouse of FameInigo Jones

The Tempest

Masque scene conjured by Prospero for the marriage of Ferdinand and Miranda. Act IV, Scene 1

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 £719Video

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

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

A First

• Female performers at an English theater (Salisbury Court)

• French company; English boos

Theater in the StreetsPageants and Monarchs

• James I left Scotland in 1603 promising to return every three years

• Return in 1617

– Speeches

– Receives money

– Banquet

– No public show

Royal Theater, Banqueting House, Whitehall

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

Pageant of Space and Time

Space: From Edinburgh to the PlanetsTime: Romans and Picts to the New World, New Scotland. Seven principal tableauxI. An arch depicting the City of Edinburgh and the Genius of the CityII. Second arch representing the countryside of Scotland III. Previous Scottish kings and MercuryIV. 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 speakerVII. Fame and Honor standing above a statue of King James.

The Sun King returns to London

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

Costume design for Queen Henrietta Mariaas Chloris

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 StarsTempe RestoredCostume designs

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

Punishment

William Prynne in the pillory from Cassell'sIllustrated History of England, vol. 3 (1865) S L Sedititious Libel or Stigmata Laudis

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 civillreverence, it will become her to tip her tongue with silence”

Richard Brathwait, The English Gentlewoman

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

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.”

Proscenium stage and wings

Ship on a rough sea

Descent from the Clouds

Salmacida Spolia 1640

• Last masque

• Written by Davenant; Designs by Inigo Jones

• Last masque before the theaters are closed

Sketch of witches