The author describes some costumes worn in masques of the period, and notes which features were seen in ballet costumes until the late eighteenth century.
Drama at the Courts of Queen Henrietta Maria considers Queen Henrietta Maria’s patronage of drama in England in the light of her French heritage. The author challenges the common view of Henrietta Maria as a meddlesome and frivolous woman whose actions contributed to the outbreak of the English civil wars by showing how she was consistent in her allegiances to her family and friends, and how her cultural and political positions were reflected in the plays and court masques she sponsored. This book considers the queen’s upbringing at the French court and her later exile in France during the English civil wars, and is therefore able to challenge received notions about her activities in England during the 1630s. The author combines discussions of literary texts with historical and archival research and discussions of art, architecture and music.
Discusses Kean’s use of historically accurate dress for Shakespeare’s plays. Illustrated with contemporary photographs.
Aimed primarily at those in the theatre. The first section discusses the management of certain types of garment (e.g. skirts and cloaks). The second section offers a history of costume with emphasis on the poise and posture adopted by the wearers.
‘A collection of the dresses of different nations, ancient and modern. Particularly old English dresses. After the designs of Holbein, Vandyke, Hollar, and others. With an account of the authorities … and some short historical remarks … to which are added the habits of the principal characters on the English stage …’
Originally published in 1938. The 1970 edition is completely revised by Alan Mansfield.
Documentary evidence allows for a reconstruction of the tailor’s room and its operations at the Pantheon Opera, London, in the late 18th century. From February 1792, the theater held a season of opera seria, opera buffa, and ballet, for which scenery and costumes were made from scratch. The venture did not thrive, however, and the second seasons’ offerings were restricted to the cheaper endeavors of ballet and opera buffa. A fire destroyed the theater to the ground on Janaury 14, 1972, but many surviving costume-related documents, including a wardrobe book that records in detail the production of the theater’s costume shop from the first season and lists of dressers from both seasons, allow for a very full reconstruction of the process of making, developing, and caring for costumes at the theater. Following an outline of the evidence for the physical spaces devoted to the tailor’s shop, the writer discusses the staff involved in the creation of costumes and examines examples of the shop’s work and its schedule.
The author considers the 100 or so portraits for women wearing embroidered jackets and divides them into two groups, one of these being masque costume. She then dissects the painting of Elizabeth Vernon and concludes it shows her dressing for a masque.
Includes the complete designs for productions at court, for the most part in the collection of the Duke of Devonshire, together with their texts and historical documentation.
This book studies the complex impact of movements, costumes, words, scenes, music, and special effects in English illusionistic theatre of the Renaissance. Drawing on a large amount of documentary evidence relating to English productions as well as spectacle in France, Italy, Germany, and the Ottoman Empire, the book elucidates professional ballet, theatre management, and dramatic performance at the early Stuart court. Individual studies take a fresh look at works by Ben Jonson, Samuel Daniel, Thomas Carew, John Milton, William Davenant, and others, showing how court poets collaborated with tailors, designers, technicians, choreographers, and aristocratic as well as professional performers to create a dazzling event. Based on extensive archival research on the households of Queen Anne and Queen Henrietta Maria, special chapters highlight the artistic and financial control of Stuart queens over their masques and pastorals. Many plates and figures from German, Austrian, French, and English archives illustrate accessibly-written introductions to costume conventions, early dance styles, male and female performers, the dramatic symbolism of colours, and stage design in performance.
The contributors to this volume offer a wide range of topics, perspectives, and approaches as they explore issues of gender and cultural cross-dressing. The meanings inherent in theatrical costuming; the ways in which novels, journals, and prints disseminated ideas about fashion, status, and gender; and present case studies of cultural practices relating to clothing are examined. The ways in which dress articulates transformations in the economic conditions, social relations, and ideological constructions of the culture of the eighteenth century are also traced.
Part of the series Studies in Performance and Early Modern Drama. Draws on published sources with additional material from selected manuscripts mainly of the 15th and 16th centuries.