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1

“Virtue’s eternal spring”: The management of time in Thomas Middleton’s Masque of Heroes

100%
Żukowska A.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2012
|
issue 9
137-150
EN
In his Masque of Heroes (1619), a festive entertainment commissioned by the gentlemen of the Inner Temple, Thomas Middleton glorifies and immortalises his performers and audience, using strategies of temporal manipulation constitutive for the entire masquing genre. The conventional images of disorder opening court entertainments are here clearly time-related and complemented with the notion of humanity’s subjection to time; the masque-specific vision of harmony involves an ephiphanic scenic display of the costumed Templars, described as heroes “in lasting honour spher’d.” Investigating Middleton’s careful management of temporal relationships evolved in the entertainment in question, this article aims to prove that his Inner Temple commission – which has not attracted much critical attention – is an epitomic example of the quasi-theatrical genre referred to as the Stuart masque, where the timeless realm exposed on the stage was supposed to spread out into the auditorium, eventually detemporalising the spectators.
2
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Black, White and Blue: Pregnancy and Unsettled Binaries in The Masque of Blackness (1605)

72%
Aebischer P., Sparey V.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2020
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vol. 22
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issue 37
15-36
EN
This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.
3

Elements of the court masque in The Magus by John Fowles

72%
Boryszewski W.
Prace Literaturoznawcze
|
2015
|
issue 3
67-83
PL
Artykuł analizuje powieść Mag Johna Fowlesa jako uwspółcześnioną wersję maski dworskiej. Część wstępna zawiera opis najważniejszych cech tego gatunku. W części głównej autor analizuje elementy maski w powieści w dwóch jej formach, to znaczy maski teatralnej i maski literackiej. Cechy maski jako gatunku teatralnego analizowane są z punktu widzenia głównego bohatera, natomiast cechy maski literackiej z perspektywy czytelnika. Celem artykułu jest także określenie, w jaki sposób elementy maski wpływają na interpretację powieści.
4
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The Secret Language of the Face: Representations of Emotions in Racine’s Tragedies

72%
Bors E.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 1
DE
Der Artikel enthält das Abstract ausschließlich in englischer und französischer Sprache.
EN
In his essay L’effet de sourdine dans le style classique: Racine, Léo Spitzer analyzes attenuation mechanisms especially in connection with the face (gaze, eyes, mouth). How to approach the idea of face ? And how to use it in the analysis of classical theater’s language?  We presume that the face systematically expresses deep emotions and is closely connected to the body and to this « bouillonnement intérieur » (inner excitement) that agitates the racinian heroes by pushing them to hide behind  an anonymous, official or collective mask.
FR
 Dans son essai L’effet de sourdine dans le style classique: Racine, Léo Spitzer  étudie les procédés d’atténuation plus particulièrement ceux relatifs au visage  (regard, yeux, bouche). Comment aborder la notion du visage ? Et comment la mettre à profit dans l’analyse du langage du théâtre classique ? Nous postulons  que le visage, étant au service de l’expression des sentiments profonds, est en étroite relation avec  le corps même et  avec  ce « bouillonnement intérieur » qui anime les personnages raciniens tout en les poussant à se cacher derrière un masque anonyme, officiel ou collectif.       
5
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Głos jako źródło tożsamości w antycznym teatrze greckim i balijskim teatrze lalki i cienia

51%
Kocur M.
Tematy z Szewskiej
|
2014
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issue Performatywność 1(11)/2014
20-29
EN
I will discuss the main strategies used by the “invisible” actors to voice the identities of the characters in ancient Greek theatre, and in Wayang Kulit, Balinese shadow puppet theatre. Of course, these two traditions are very different. A Greek actor, covered by a costume and a mask, acted directly in front of the audience and moved his whole body while voicing the character. Balinese puppet master has to act from behind the screen and he moves only his hands. The Greek actor gave voice to one mask at a time; the Balinese puppeteer produces voices of each of the many characters in the play. But there is something the Greeks and the Balinese may have in common: in both performative traditions voice seems to be separated from the physical person. I will argue that it is this separation that enhances and problematizes the construction of gender as well as stimulates the audience to emotionally participate in the performance.
PL
W artykule omawiam sposoby używania głosu do konstruowania tożsamości osoby dramatu przez „niewidzialnych” aktorów w antycznym teatrze greckim i balijskim teatrze lalki i cienia, Wayang Kulit. Tradycje te są oczywiście bardzo odmienne. Artysta grecki, ukryty pod kostiumem i maską, działał bezpośrednio na oczach olbrzymiej widowni i użyczał swój głos jednej tylko postaci. Artysta balijski siedzi po turecku oddzielony od widzów ekranem i sam jeden użycza głosu każdej lalce animowanej przez siebie w scenie. W obu tych tradycjach głos zdaje się być oddzielony od fizycznej osoby performera. Postaram się dowieść, że to oddzielenie pogłębia i problematyzuje konstrukcje płci, a zarazem stymuluje publiczność do bardziej emocjonalnego uczestniczenia w performansie.
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