Painted Faces on the Renaissance Stage: The Moral Significance of Face-painting Conventions

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Bucknell University Press, 1994 - 139 páginas
"The strength of this book is its abundance of fresh, new, authoritative evidence of face-painting that conclusively establishes how widespread and how richly significant the painted face was on the Renaissance stage. This work should be valuable to anyone interested in the evidence of linking players and face-paint and in the use of face-paint as theatrical signal in Medieval, Tudor, and Renaissance drama. Anyone curious about cosmetics and attitudes toward cosmetics will enjoy reading about the ingredients of the makeup worn by both women and men in the Renaissance to achieve the fashionable white face, rosy cheeks, and light hair. Equally intriguing are the effects of sometimes poisonous ingredients like lead, mercury, and vitriol." "Supporting the text are six illustrations of face-painting that include a woodcut of the devil applying cosmetics, a painted Elizabethan lady, a made-up Elizabeth I, and Satan disguised as a fair-faced, buxom, blond lady. The first book-length study of its kind, Painted Faces on the Renaissance Stage should be of interest to all students of drama, theater history, and social custom in the age of Shakespeare and his contemporaries."--BOOK JACKET.

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Contenido

The Moral Significance of Painted Faces on the Renaissance Stage
11
Symbolic Patterns of Facial Adornment and Deformity in Medieval and Tudor Drama
33
FacePainting in Renaissance Tragedy
49
Theres knauery in dawbing FacePainting in Renaissance Comedy
62
FacePainting Scenes in Ben Jonsons Plays
77
Painting is a mystery Shakespeares Use of FacePainting and Symbolic Makeup
91
Notes
105
Bibliography
122
Index
132
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Página 49 - And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication...
Página 91 - In the old age black was not counted fair, Or if it were, it bore not beauty's name ; But now is black beauty's successive heir, And beauty slander'd with a bastard shame : For since each hand hath put on nature's power, Fairing the foul with art's false borrow'd face, Sweet beauty hath no name, no holy bower, But is profan'd, if not lives in disgrace. Therefore my mistress...
Página 52 - Was this the face that launch'da thousand ships, And burnt the topless towers of Ilium?
Página 52 - I charge thee to return, and change thy shape; Thou art too ugly to attend on me: Go, and return an old Franciscan friar; That holy shape becomes a devil best.
Página 15 - Italians, and therefore loue them the more, because they mortally detest this surley swinish Generation. I need not fetch colours from other countries to paint the vglie visage of Pride, since her picture is set forth in so many painted faces here at home.
Página 28 - And from whence commeth this wearing and this / imbrodering of long lockes, this curiositie that is vsed amongst men in freziling and curling of their hayre ? this gentlewoman-like starcht bands, so be edged, and be laced, fitter for Mayd Marion in a Moris dance, then for him that hath either that spirit or courage that should be in a gentleman...
Página 58 - A blemished face best fits a leprous soul. (5. 2. 246-7) The metaphors of wealth need hardly be considered; their functions will be evident. Affection is the wealth of the good. Bianca, while she is chaste, is Leantio's "treasure", his "jewel", his "life's wealth".

Acerca del autor (1994)

Annette Drew-Bear is currently an Associate Professor of English at Washington and Jefferson College in Washington, Pennsylvania.

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