Another English theatrical form that was highly influenced by women was the court
masques of the early seventeenth century.
Martin Butler aptly suggests that
masques were a "vehicle through which we can read the early Stuart court's political aspirations and the changing functions of royal culture." (15) Working from Butler's definition, I argue Anna's pregnant blackface performance was a political act that revealed her desire to secure her own sphere of influence in the newly minted English Stuart court.
The design story is a fascinating one, especially for the overnight
masques. As noted by Jim Neri, Aveda's Tulasara Wedding
Masque Overnight and Wedding
Masque Eye Overnight treatment products come packaged in cartons decorated with an intricate filigree pattern inspired by traditional Indian customs and weddings, including botanical motifs and henna (photo on p.44).
One example of Look Beauty's go-beyond-the-expected philosophy is the company's line of do-it-yourself
masques. "Developed in Korea, these sheet
masques are breakthroughs because the serum or essences that are made to treat the skin are either soaked or brushed onto a thin cotton or fiber sheet, which is precut to match the contour of an individual's face," Lever says.
Masques arose in sixteenth-century England and Europe as a courtly form of entertainment with folk, or country, origins.
D'apres la meme source, plus d'une centaine d'hommes
masques se sont rassembles devant le poste de police ou l'agresseur etait detenu, menacant de le bruler a moins que l'homme soit relache, affirmant que l'agresseur a ete libere sans que des charges soient retenues a son encontre.
The Quran has obliged all Muslims to say the "Namaz" in groups; this is a significant factor in why
Masques must be constructed.
Descendre le 25 janvier sur la Place Tahrir avec des
masques representant les martyrs tombes lors de la Revolution, est l'appel dernier cri, fraEchement lance sur le reseau social.
Reading
Masques: The English
Masque and Public Culture in the Seventeenth Century.
While acknowledging that her study of the inherent metatheatricality of Renaissance drama follows in a long tradition of exploring plays-within-plays in drama from this period, Rochester makes the case for the innovative nature of her approach, not only in terms of its focus on the woefully understudied figure of Massinger, but in her consideration of plays-within-plays and inset
masques as conscious "enactments of spectatorship" (1).
Jerry Wasserman's Spectacle of Empire is an exciting compendium presenting the original 1609 French edition of Marc Lescarbot's Le Theatre de Neptune en la Nouvelle-France, Harriette Taber Richardson's 1927 English translation, Eugene and Renate Benson's 1982 translation, and, as an example of similar court
masques: Ben Jonson's allegorical 1605 The
Masque of Blackness.
The underlying political and personal symbolism of
masques, which were an essential part of these grand weddings, is central to the discussion.
