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Carnival. --- Masquerades. --- Carnavals --- Mascarades

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Issue d'une vieille tradition nationale fécondée à la Renaissance par des influences italiennes, la danse de fête dans la France du XVIIe siècle se déploie sous le règne du Roi Soleil. Elle prend alors les dimensions d'un prodigieux phénomène de société : c'est tout un pays, du peuple jusqu'aux palais, qui, pour oublier les rigueurs des temps ou pour célébrer la gloire des grands, est emporté par la danse. Apparenté au bal et à la mascarade de carnaval, le ballet envahit les fêtes des collèges, s'introduit dans les formes dramatiques, les métamorphose en comédies-ballets, en tragédies-ballets et même en opéras-ballets. De cet immense foisonnement, le ballet représenté à la cour n'est que la forme suprême. C'est ce phénomène que, pour la première fois, Philippe Hourcade tente ici de retracer dans toute son ampleur. Ce livre est complété de l'édition de témoignages essentiels de l'époque et enrichi des répertoires des danseurs de la cour ainsi que de tous les ballets exécutés sous Louis XIV (1643-1715).

Ballet --- Masquerades --- Mascarades --- History --- Histoire

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An ambitious reassessment of the political uses of masking. Does the mask reveal more than it conceals? What, this book asks, becomes visible and invisible in the masking practiced in Caribbean cultures—not only in the familiar milieu of the carnival but in political language, social conduct, and cultural expressions that mimic, misrepresent, and mislead? Focusing on masking as a socially significant practice in Caribbean cultures, Gerard Aching's analysis articulates masking, mimicry, and misrecognition as a means of describing and interrogating strategies of visibility and invisibility in Cuba, Trinidad and Tobago, Martinique, and beyond. Masking and Power uses ethnographic fieldwork, psychoanalysis, and close literary readings to examine encounters between cultural insiders as these locals mask themselves and one another either to counter the social invisibility imposed on them or to maintain their socioeconomic privileges. Aching exposes the ways in which strategies of masking and mimicry, once employed to negotiate subjectivities within colonial regimes, have been appropriated for state purposes and have become, with the arrival of self-government in the islands, the means by which certain privileged locals make a show of national and cultural unity even as they engage in the privatization of popular culture and its public performances.

Spanish-American literature --- Thematology --- Caribbean Area --- Carnival --- Masquerades --- Popular culture --- Carnavals --- Mascarades --- Culture populaire --- Caraïbes (Région) --- Social conditions. --- Conditions sociales --- Caraïbes (Région) --- Caribbean area --- CARNAVALS --- MASCARADES --- CULTURE POPULAIRE --- REGION CARAÏBE --- CONDITIONS SOCIALES

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rituals [events] --- Ethnology. Cultural anthropology --- Pende --- ceremonies --- Folklore --- masks [costume] --- Congo --- Aesthetics, African. --- Masks, Pende. --- Masquerades --- Pende (African people) --- Physiognomy in art --- Sculptors --- Esthétique africaine --- Masques pende --- Mascarades --- Pende (Peuple d'Afrique) --- Physiogonomie dans l'art --- Sculpteurs --- History --- Social life and customs. --- Biography --- Histoire --- Moeurs et coutumes --- Biographie --- History. --- Biography. --- Esthétique africaine --- Aesthetics, African --- Masks, Pende --- Bronze sculptors --- Artists --- Apende (African people) --- Bapende (African people) --- Pende (African tribe) --- Pindi (African people) --- Tupende (African people) --- Bantu-speaking peoples --- Ethnology --- Amusements --- Mumming --- Pende masks --- African aesthetics --- Social life and customs --- Masks

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This book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others. Split into three sections the book re-examines the era, considers the movement’s influence on international theatre, and considers its lasting effects on contemporary British theatre. The first section offers new readings on works from that time period (Antony Neilson and Mark Ravenhill) as well as challenges myths created by the Royal Court Theatre about the its involvement with In-Yer-Face theatre. The second section discusses the influence of In-Yer-Face on Portuguese, Russian and Australian theater, while the final section discusses the legacy of In-Yer-Face writers as well as their influences on more recent playwrights, including chapters on Philip Ridley, Sarah Kane, Joe Penhall, Martin Crimp, Dennis Kelly, and Verbatim Drama.

Theater --- Performing arts --- Show business --- Arts --- Performance art --- History. --- Management. --- Theater. --- Theater—History. --- Performing arts. --- Contemporary Theatre. --- Theatre History. --- National/Regional Theatre and Performance. --- Performing Arts. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Teatre --- Art del teatre --- Art escènic --- Art teatral --- Dramatúrgia --- Escena --- Representació teatral --- Arts de l'espectacle --- Agents teatrals --- Crítica teatral --- Directors teatrals --- Mascarades (Teatre) --- Música d'escena --- Producció i direcció teatral --- Teatre al carrer --- Teatre d'afeccionats --- Teatre de titelles --- Teatre escolar --- Teatre experimental --- Teatre infantil i juvenil --- Teatre musical --- Teatre negre --- Teatre polític --- Vodevil --- Art dramàtic --- Consuetes (Teatre) --- Efectes especials --- Teatre (Gènere literari) --- Teatres