『평화의 개선행진』에 나타난 궁정 가면극(masque)의 물질문화와 연극성(theatricality)
This essay brings into critical spotlight the thirteenth antimasque of The Triumph of Peace (1634), for which James Shirley provided the script and Inigo Jones art direction. Critics of the masque diverge on its political message--whether it celebrates or criticizes Charles’s personal rule--but agree in basing their arguments on Shirley’s script. Basing my interpretation on the idea of the masque as what Tom Bishop termed a “formal and kinetic event”, I argue that the thirteenth antimasque constituted possibly the most serious challenge to Charles’s personal rule. I show how the eruption onto the masque stage of tradespeople undercuts the spectators’ suspension of disbelief about Inigo Jones’s stage scenery as part of the Platonistic landscape informed by the king’s divine presence. The unearthing of the material labor that produced the masque and, more broadly, the wider civic participation that surrounded the masque beyond the Banqueting Hall, I argue, intimate the possibility of a new esthetic for the masque whose political implications it behooved the king to have minded in time.