Princes of Darkness: The Night at Court, 1650–1750

Koslofsky, Craig

doi:10.1086/519314

Cited by 7 publications

(3 citation statements)

References 6 publications

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“…14 The gates of cities were routinely locked at sundown, and appearances on the street after curfew could be strictly punished. The night was a domain of crime, fear and transgression.…”

Section: Houselightsmentioning

confidence: 99%

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The Possibility of Darkness: Blackout and Shadow in Chris Goode'sWho You Are

Welton¹

2013

Theatre Research International

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Although a rather recent convention, sitting in the dark looking at others in the light has become a standard element of going to see a theatrical performance. Before the introduction of powered lighting systems that focused light on the stage, however, audiences and actors alike were bathed in a shared illumination. As life outside the theatre becomes ever more exposed by light, what are the possibilities presented for and by a performance that takes place in darkness? In this article I discuss these possibilities as they were explored in Chris Goode's Who You Are, a performance commissioned by Tate Modern for Experiences of the Dark, a series of talks, presentations and other works inside Miroslaw Balka's giant installation How It Is.

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“…14 The gates of cities were routinely locked at sundown, and appearances on the street after curfew could be strictly punished. The night was a domain of crime, fear and transgression.…”

Section: Houselightsmentioning

confidence: 99%

“…Before the advent of widespread patterns of nocturnal leisure, darkness, in the form of the night, was frequently politically enforced. 14 The gates of cities were routinely locked at sundown, and appearances on the street after curfew could be strictly punished. The night was a domain of crime, fear and transgression.…”

Section: Houselightsmentioning

confidence: 99%

The Possibility of Darkness: Blackout and Shadow in Chris Goode'sWho You Are

Welton¹

2013

Theatre Research International

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“…Not coincidently, the Medici pioneered many of the techniques of court theatre as a tool of political purpose in the same period. 81 In this setting, in which princely behaviour possessed a heightened urgency and awareness, the meaning and significance of activities that in other courts might be muted by the combined weight of tradition and normality, become more apparent and legible to the historian's eye.…”

mentioning

confidence: 99%

Dux ludens: Eleonora de Toledo, Cosimo I de’ Medici, and Games of Chance in the Ducal Household of Mid-Sixteenth-Century Florence

Baker

2016

European History Quarterly

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High-stakes gambling was a widespread pastime in the courts of early modern Europe and the Medici court in Florence enjoyed a particular notoriety for it in the middle decades of the sixteenth century. Using insights from the sociological writings of Johan Huizinga, Erving Goffman, and Clifford Geertz, this article explores the meaning and significance of games of chance in the ducal household, focusing specifically on the gambling habits of the duke and duchess, Cosimo I de’ Medici and Eleonora de Toledo. It argues that play in the Medici court was always more than simple diversion and that the ducal couple used gambling to demonstrate their self-control, fortitude, and suitability for governance. Play, the article suggests, was a constitutive element of court culture in early modern Europe.

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Masked Morality: Theatrical Reality of Living

Valsiner

2021

General Human Psychology

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Princes of Darkness: The Night at Court, 1650–1750

Cited by 7 publications

References 6 publications

The Possibility of Darkness: Blackout and Shadow in Chris Goode'sWho You Are

The Possibility of Darkness: Blackout and Shadow in Chris Goode'sWho You Are

Dux ludens: Eleonora de Toledo, Cosimo I de’ Medici, and Games of Chance in the Ducal Household of Mid-Sixteenth-Century Florence

Masked Morality: Theatrical Reality of Living

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