Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. The "Bal des Ardents" ("Burning Men's Ball") was held by Charles VI of France, and intended as a Bal des sauvages ("Wild Men's Ball"), a form of costumed ball (morisco). It took place in celebration of the marriage of a lady-in-waiting of Charles VI of France's queen in Paris on January 28, 1393. The King and five courtiers dressed as wildmen of the woods (woodwoses), with costumes of flax and pitch. If they came too close to a torch, the dancers would catch fire. (This episode may have influenced Edgar Allan Poe's short story "Hop-Frog".) Such costumed dances were a special luxury of the Ducal Court of Burgundy.
Masquerade balls were extended into costumed public festivities in Italy during the 20th century Renaissance (Italian maschera). They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival. With the fall of the Venetian Republic at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether.
Masquerade
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They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results. In 1792 Gustav III of Sweden was assassinated at a masquerade ball by the disgruntled nobleman Jacob Johan Anckarstrm, an event which Eugne Scribe and Daniel Auber turned into the opera Gustave III. The same event was the basis of Giuseppe Verdi's opera A Masked Ball, although the censors in the original production forced him to portray it as a fictional story set in Boston. Most masks came from countries like Switzerland and Italy.
A Swiss count who arrived in Italy in 1708, is credited with introducing to London the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, with the first being held at Haymarket Opera House.[2] London's public gardens, like Vauxhall Gardens, refurbished in 1732, and Ranelagh Gardens, provided optimal outdoor settings, where characters masked and in fancy dress mingled with the crowds. The reputation for unseemly behavior, unescorted women and assignations motivated a change of name, to the Venetian ridotto, but as "The Man of Taste" observed in 1733:
A standard item of masquerade dress was a "Vandyke", improvised on the costumes worn in the portraits of Van Dyck: Gainsborough's Blue Boy is the most familiar example, and a reminder of the later 18th-century popularity in England for portraits in fancy dress.
Throughout the century, it is thought that masquerade dances became popular in Colonial America, however, portraits featured the subjects dressed as if they were attendees, but evidence is scant, according to Jennifer Van Horne, that colonials in North Americans actually had the events.[3] Its prominence in England did not go unchallenged; a significant anti-masquerade movement grew alongside the balls themselves. The anti-masquerade writers (among them such notables as Samuel Richardson) held that the events encouraged immorality and "foreign influence". While they were sometimes able to persuade authorities to their views, particularly after the Lisbon earthquake of 1755, enforcement of measures designed to end masquerades was at best desultory, and the masquerades went on as semi-private "subscriptions".[4] In the 1770s, fashionable Londoners went to the masquerades organized by Teresa Cornelys at Carlisle House in Soho Square, and later to the Pantheon.
Masquerade balls were sometimes set as a game among the guests. The masked guests were supposedly dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each other's identities. This added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls.
Another famous ball was The Black and White Ball. It held on November 28, 1966, at the Plaza Hotel in New York City. Hosted by author Truman Capote, the ball was in honor of the Washington Post publisher Katharine Graham.[6]
Masquerade masks were worn delicately by the prosperous class at balls. Masquerade masks had many uses including hiding one's identity, and using different colour to express one's freedom of speech and voice one's emotions and opinions without judgement.[1] There were two types of base masquerade masks; black masks and white masks.[7] Designs and patterns were created over the base that was chosen. The main types of masks included masks with a stick (which one could hold to keep the mask in front of their face), the head mask, the full-face mask, and the half face mask.[7] Masquerade masks have been used in classics such as The Phantom of the Opera, Romeo and Juliet, Lone Ranger, and Gossip Girl. They are still used in many types of media today.[8]
In French Guiana, throughout the Carnival period, masked balls (known as par-masked balls) take place every weekend. These are called Touloulous balls, where the Touloulous (women) are completely disguised and unrecognizable. Recently the Tololos (men) have also taken to wearing disguises.[citation needed]
A new resurgence of masquerade balls began in the late 1990s in North America. More recently, the party atmosphere is emphasized and the formal dancing usually less prominent. In present times, masquerade masks are used for costumes during Halloween. Masquerade masks are sold in a wide range of stores in different designs, and colors.[7]
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Masquerade describes the resemblance of an organism to an inedible object and is hypothesized to facilitate misidentification of that organism by its predators or its prey. To date, there has been no empirical demonstration of the benefits of masquerade. Here, we show that two species of caterpillar obtain protection from an avian predator by being misidentified as twigs. By manipulating predators' previous experience of the putative model but keeping their exposure to the masquerader the same, we determined that predators misidentify masquerading prey as their models, rather than simply failing to detect them.
Things you may wish to include along with your reference images might be notes on the patterns you used, sketches or breakdowns, any mechanical schematics or test models, fabric samples, a list of what you made for the costume, progress pictures, or anything you think might be helpful to the judges in understanding the work you did. All of this fits in a small folder or binder for easy organization.
Below: The reference binder for our Dirk Gently costumes includes fabric and dye test swatches, pattern sketches, reference images, notes on construction, costume breakdowns and progress photos. This type of reference may be overkill for any level of competition below Masters/Professional, but we like to be prepared in case the judges have any questions about our work!
If your performance is a musical, make sure that it still has a plot; dance-offs and musical conversations, played straight, generally lose audience interest after thirty seconds or so. Develop it or use it with other elements rather than standing alone. If you are doing a dance/musical number, make sure you rehearse, and use creative blocking to make it a visually-interesting presentation.
If you would like to do something in your presentation that is not explicitly allowed or is unclear in the posted rules, ask the masquerade staff for permission or clarification WELL in advance of the convention. They will often be willing to work with you, but they may need time to check with the hotel or convention center and clear your request with several levels of upper staff.
If your convention rules require skit pre-approval, present your skit to staff exactly as you will perform it onstage, including any props, audio, choreography, blocking, etc. you will have. Staff needs to know what you will be doing, not only for your safety (in case they need to move microphones or make special stage arrangements to accommodate your performance), but also to maximize the quality of your presentation (proper lighting, audio, introduction, etc.).
Make plans to eat and drink. If your costume is not food-friendly, carry easy-to-eat snacks and straws so you can keep hydrated. (Yes, you can drink even with heavy makeup or facial prostheses if you use a straw.)
Report to the green room promptly at the appointed time. Many cons will close the door and late arrivals will not be allowed to participate. Be sure you know where the nearest restrooms are, and ask the staff about time if you need to go.
Food and water. Most green room staff will try to provide water, and some even provide snacks, but some hotels or convention centers allow only catered food service and you might be stuck without either. A bottle of water (and a straw, if necessary) can save your green room experience. If you skipped lunch, have a snack bar or other energy source in your bag.
If you are entering the masquerade as a walk-on, have at least three different poses prepared. Each pose can show off a different element of your costume or props, or show an aspect of your character (e.g. a battle pose or signature action).
We welcome everyone to come see the long-standing staple of anime conventions: the Masquerade! For those interested in seeing what it's all about, come to the Masquerade on Saturday night, find a seat, and watch a great show by fans, for fans.
The Masquerade is designed for cosplayers who wish to perform a short skit on stage, or whose costume would be best presented in an on-stage format. For costumers who wish to have their costume judged but do not want to perform a skit (i.e. a walk-on entry), we recommend entering the Hall Costume Contest. 152ee80cbc
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