Episode 221:
Last time I took you into the world of the court masque with the help of Kristen Macdermott who, I think you will agree, painted a very detailed picture of that very particular theatrical form and the way the Stuart court embraced it. As we heard, masques were often written by playwrights and performed by actors who also wrote for and performed in the public playhouse, so it’s no surprise that a few plays feature masques. We have already encountered short masques in ‘Much Ado About Nothing’ and ‘Timon of Athens’, with the best known example from ‘The Tempest’ still to come and Shakespeare’s next offering ‘Anthony and Cleopatra’ would, you might think, have been another opportunity to include a masque featuring exotic characters to add to the glamorous setting. In fact, Shakespeare chose not to include a masque specifically, but we can see that he uses the attributes of the masque throughout the play.
Masque elements used in ‘Antony and Cleopatra’
The dating of the play
The early print history of the play
The sources for the play
The different style of the play from it’s near neighbours
A brief synopsis of the play
How the main characters and the political story and love story are balanced in the play
The hyperbolic language used in the play
The character of Antony
Equals and opposites in the play and how Antony deals with them
The character of Octavius
The character of Cleopatra
The death of Cleopatra
Antony and Cleopatra as a Stuart period play
A short word on the history of criticism of the play
The later performance history of the play
Support the podcast at:
www.thehistoryofeuropeantheatre.com
You can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that’s for just £1 per month.
","author_name":"Philip Rowe"}