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Wenn frühneuzeitliche Höfe, wie von Zeitgenossen immer wieder behauptet, nach Art einer Bühne funktionieren, dann liegt es nahe, höfisches Leben nach Praktiken des Sehens und Gesehen-Werdens, der Beobachtung, der Überwachung, des Zuschauens zu befragen. Während das höfische lch durch Prozesse formierenden Sehens entsteht, kann auch der Hof selbst, als Ort der Macht, als Produkt des koniglichen Blicks beschrieben werden. Der Band widmet sich den visuellen Praktiken an frühneuzeitlichen Höfen und untersucht die Formen und Funktionen sowie die Produktivität des Zuschauerblicks am elisabethanische

Spectators --- Persons --- Audiences --- History --- Elizabeth --- Elisabeth --- Relations with courts and courtiers. --- Great Britain --- Court and courtiers

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George --- Relations with courts and courtiers. --- Great Britain --- Court and courtiers --- History

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Henry VIII --- King of England --- 1491-1547 --- Relations with courts and courtiers --- Shakespeare --- William --- 1564-1616. King Henry VIII --- Great Britain --- History --- 1509-1547

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"Under glittering lights in the Louvre palace, the French court ballets danced by Queen Marie de Medicis prior to Henri IV's assassination in 1610 attracted thousands of spectators ranging from pickpockets to ambassadors from across Europe. Drawing on newly discovered primary sources as well as theories and methodologies derived from literary studies, political history, musicology, dance studies, and women's and gender studies, Dancing Queen traces how Marie's ballets authorized her incipient political authority through innovative verbal and visual imagery, avant-garde musical developments, and ceremonial arrangements of objects and bodies in space. Making use of women's "semi-official" status as political agents, Marie's ballets also manipulated the subtle social and cultural codes of international courtly society in order to more deftly navigate rivalries and alliances both at home and abroad. At times the queen's productions could challenge Henri IV's immediate interests, contesting the influence enjoyed by his mistresses or giving space to implied critiques of official foreign policy, for example. Such defenses of Marie's own position, though, took shape as part of a larger governmental program designed to promote the French consort queen's political authority not in its own right but as a means of maintaining power for the new Bourbon monarchy in the event of Henri IV's untimely death."--

Ballet --- Dance --- Pantomime --- History --- France --- Court and courtiers --- Bourbon monarchy. --- France. --- French court ballets. --- French. --- Henri IV. --- Louvre. --- Queen Marie de Médicis. --- dance studies. --- literary studies. --- musicology. --- political history. --- women’s and gender studies. --- Music --- Theatrical science --- Medici, de', Maria [Queen of France] --- Marie de Medicis, --- Knowledge --- Ballet. --- Relations with courts and courtiers. --- Marie de Médicis, --- Médicis, Marie de, --- De Médicis, Marie, --- Maria de' Medici, --- De' Medici, Maria, --- Medici, Maria de', --- 1589-1699

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In 1545 Henry VIII created a Revels Office within the royal household and appointed Sir Thomas Cawarden, one of the gentlemen of the Privy Chamber, as its Master. In so doing he set a precedent for the production of revels at court for the next century. Some historians have only recently examined the revels in their historical context, but none has attempter, as W.R. Streitberger does, to study court entertainments in terms of the growth and development of the Revels organization and its adaptation to different political climates at court. Streitberger presents evidence in the form of a calendar of court entertainments and appendices based on the primary documents; he provides an explanation of their occasion, form, and purpose of these entertainments in their historical context; and he explains the development of the revels organization from the temporary appointment of producers at the beginning of their period into a government office by the mid-sixteenth century. Streitberger details the adaptation of the Revels organization to the very different courts of the various monarchs, and explains how their personalities, principles, and policies shaped that adaptation.

Pageants --- Amusements --- Performing arts --- History --- Production and direction --- Chronology. --- Great Britain --- Court and courtiers --- Production and direction. --- English literature --- Direction (Performing arts) --- Production (Performing arts) --- Direction --- Amateur plays --- Festivals --- Processions --- Show business --- Arts --- Performance art --- Children --- Entertainments --- Pastimes --- Recreations --- Entertaining --- Games --- Play --- Recreation --- English drama --- Early modern and Elizabethan, 1500-1600 --- History and criticism --- Masks --- Theater --- England --- 16th century --- Theater and state --- 19th century --- English drama - Early modern and Elizabethan, 1500-1600 - History and criticism. --- Masques - History and criticism. --- Theater and state - England - History - 16th century. --- Great Britain - Court and courtiers. --- Great Britain - History - Henry VIII, 1509-1547. --- Henry --- Relations with courts and courtiers. --- Great Britain. --- Henricus --- Heinrich --- Enrique --- Henri --- Hendrik --- Enrico --- England and Wales.