Love's Welcome: The King and Queen's Entertainment
- Submitting institution
-
Brunel University London
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 023-109952-18559
- Type
- I - Performance
- Venue(s)
- Bolsover Castle
- Open access status
- -
- Month of first performance
- July
- Year of first performance
- 2014
- URL
-
https://doi.org/10.17633/rd.brunel.4244897
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
2
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- An immersive performance of Ben Jonson’s masque, Love’s Wellcome, in the original performance space at Bolsover Castle. The project also produced additional immersive dramatic pieces as part of a performance-based investigation into the events surrounding Charles I’s visit to Bolsover in July 1634.
The research methodology was based on Betteridge’s AHRC funded productions of The Play of the Weather at Hampton Court Palace and Ane Satyre of Thrie Estatis at Linltihgow Palace. It also drew on Professor Knowles’ work on Ben Jonson and Stuart masques. The project team produced a historically informed production of Love’s Wellcome drawing on the expertise of Charlotte Ewart for the choreography and Tamsin Lewis for the music. The project team also worked with Professor James Knowles and Dr Nicola Stacey drawing in the former’s detailed knowledge of Jonson’s masques and the latter’s work as Chief Curator of English Heritage on Bolsover Castle. The second stage of the project was a performance as research exploration of Love’s Wellcome in the Little Garden at Bolsover Castle and interpretative heritage based immersive performance examining the cultural politics of Charles I’s visit to Bolsover Castle in 1634.
Research Insights:
1.The hexagonal shape of the walls of the Little Garden, which match the shape of the Globe, provided a perfect space for theatre to the performed. 2.The workshop brought together Jonson’s original texts with devised seventeenth-century music and dance in order to explore how Love’s Welcome as a masque worked. 3.The immersive opening explored ways of using drama to re-create the textual and material historical context for the performance of Jonson’s masque in July, 1634. When the masque was originally performed the local ‘free’ miners were in a state of uproar and the immersive opening part reflects this historical context.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
