Journal articles: 'Dançe of the masked'

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LEE, Mi Ji. "The Thai Masked Dance "Khon": Traditional Culture and Tourism Strategies." JOURNAL OF ASIAN STUDIES 21, no. 2 (May 31, 2018): 37–59. http://dx.doi.org/10.21740/jas.2018.05.21.2.37.

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Kim, Ho-seok. "A Study on the Song of the Bongsan Masked Dance Drama." Korean Folklore 63 (May 31, 2016): 141. http://dx.doi.org/10.21318/tkf.2016.05.63.141.

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Yi, Jooyoung. "Bongsan Masked Dance in the 1930s and the Direction of Tradition." Journal of Language & Literature 86 (June 30, 2021): 277–99. http://dx.doi.org/10.15565/jll.2021.06.86.277.

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Dibia, I. Wayan. "Experimenting the Modern Story "Mr. Tepis" to Balinese Topeng Masked Dance Theatre." Malaysian Journal of Performing and Visual Arts 2, no. 1 (December 15, 2016): 71–85. http://dx.doi.org/10.22452/mjpva.vol2no1.4.

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Moungboon, Vantanee, Kla Somtrakool, and Ying Keeratiburana. "Khon (Masked Dance): Management to Promote Tourism in the Central Region of Thailand." International Journal of Interdisciplinary Organizational Studies 11, no. 3 (2016): 27–34. http://dx.doi.org/10.18848/2324-7649/cgp/v11i03/27-34.

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Garuba, Harry. "Masked Discourse: Dramatic Representation and Generic Transformation in Wole Soyinka'sA Dance of the Forests." Modern Drama 45, no. 3 (September 2002): 378–94. http://dx.doi.org/10.3138/md.45.3.378.

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Baek, Hyun-Soon. "Analysis on the Village-Centered Masked Dance based on Rituals -On the Rituals Transitions-." Journal of the Korea Contents Association 10, no. 4 (April 28, 2010): 175–85. http://dx.doi.org/10.5392/jkca.2010.10.4.175.

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Foley, Kathy. "Trance and Transformation of the Actor: Japanese Noh and Balinese Masked Dance-Drama (review)." Asian Theatre Journal 22, no. 2 (2005): 361–64. http://dx.doi.org/10.1353/atj.2005.0026.

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Anderson, Samuel Mark. "Letting the mask slip: the shameless fame of Sierra Leone's Gongoli." Africa 88, no. 4 (November 2018): 718–43. http://dx.doi.org/10.1017/s000197201800044x.

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AbstractGrotesque and vulgar, the masked character Gongoli upends the codes of Mende decorum in his madcap pursuit of laughs. His impropriety goes so far as to allow his mask to fall, comically revealing the identity of his dancer and subverting the anonymity so elemental to his fellow spirits’ vaunted status. Yet despite such transgressions, he stands among the most beloved figures of Sierra Leone's rich performance traditions. Gongoli's popularity hinges on his irreverence towards the fundamental laws of masked dance, laws that also regulate the balance between individual agency and communal responsibility, between internal desire and external restraint. The only quality necessary to play Gongoli is shamelessness (ngufe baa), and the greatest performers are acrobats braving risks that are not physical, but social. This article follows Siloh, an itinerant performer whose celebrity inheres in his uncanny similarity to the Gongoli he often plays. The composite figure Siloh Gongoli exemplifies a comic aesthetic relished throughout Sierra Leone in storytelling, ritual, festivals, videos and radio shows. Although mobilized for different ends, each of these conventions undermines principles of self-effacement, gerontocratic privilege and esoteric power by shamelessly playing with and within the existential tensions between interior and exterior selves.

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Januar, Rizky. "Topeng Sidakarya Dance; A Man who made it a success." Bali Tourism Journal 4, no. 1 (February 10, 2020): 6. http://dx.doi.org/10.36675/btj.v4i1.39.

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Topeng Sidakarya dance is a masked wali dance originated from the 16th century. A typical old art performance that utilises a mask to express the figure's character. It is believed the art was choreographed after a brief visit of Brahmana Keling, a sage from eastern Java to Bali at the time King Dalem Waturenggong was reigning Gelgel Kingdom. The tour of Brahmana keling to the grand ritual held in the 16th century by king Dalem Waturenggong gave birth to Topeng Sidakarya dance; An art to dedicate Brahmana Keling’s service for Gelgel kingdom. His service had led Bali to reach its prosperous time for an extended period. The dance is recognised by its unique mask characteristics: a white-based colour mask, squinting eyes, black or white moustache, smiling expression and exaggerated overbite teeth. Topeng Sidakarya dance served as a complement of religious rituals based on king Dalem Waturenggong’s decree for the future generation. It is compulsory to perform the sacred art as it carries a symbol that the ceremony has been well-acted, and the organiser would meet their expectation for the ritual.

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Engelhart, Monica. "The Dancing Picture - The Ritual Dance of Native Australians." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 75–90. http://dx.doi.org/10.30674/scripta.67224.

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What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out. This last aspect leads us to the second item of interest regarding the ritual dance in Australia, an issue that has been discussed at length regarding masked dancers in other societies, i.e., the question of whether the dancer is identified with the being represented, or merely performs as an actor in a play. In this discussion, the very technique of dancing may have some explanatory faculty, at least as long as we are dealing with Native Australian ritual dance.

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Bilby, Kenneth M. "Surviving Secularization: Masking the Spirit in the Jankunu (John Canoe) Festivals of the Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 84, no. 3-4 (January 1, 2010): 179–223. http://dx.doi.org/10.1163/13822373-90002440.

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Jankunu (Jonkonnu, Junkanoo), an Afro-Caribbean Yuletide tradition centering on masked dance, is generally characterized as a secular festival. This article presents contemporary ethnographic evidence showing that certain older variants of the tradition remain closely connected with African-derived religious concepts and practices. On the basis of this new evidence, the author argues for a reexamination and reevaluation of the historical significance of this tradition, which even today, despite its ostensible secularity, has vaguely "spiritual" associations for many in the region—including some of those who represent it as "secular." The article interprets this apparent contradiction as the result of a historical process of secularization (in response to the stigmatization of African modes of religiosity) that was only partly successful.

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Westlake, E. J. "El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing." Congress on Research in Dance Conference Proceedings 2011 (2011): 58–64. http://dx.doi.org/10.1017/s0149767711000301.

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Folk dance fulfills a particular function in the survival of communal memory. Community history and identity live through the animated body. But in the case of El Güegüence, Nicaragua's hybrid Spanish-Nahuatl dance-drama, many feel it is a contested tradition with a contested set of significations. Within that contestation, communal memory is fractured and ruptured in ways that produce a unique and dynamic discourse.In this paper, I will focus on Irene López's reworking of El Güegüence as the dance piece El Gran picaro. López has been criticized for altering the “authentic” dance tradition, a criticism she answers by pointing out that the original dance was lost when only the artifact of the dramatic text was preserved. López's reworking functions as collective memory and as an act of restored tradition, an invention meant to stand in for the original as faithfully as the inventor can imagine.I will also examine the redeployment of El Güegüence by groups who have embraced the figure and the act of dancing the masked drama as an expression of the subaltern, the marginalized, and the closeted minority identities within the context of the national culture, specifically Grupo Relajo, with its playful workshops built around the popular story. Ultimately, El Güegüence represents an artifact of the erasure of dance and, by extension, the indigenous body. Both López and Grupo Relajo, through their staging, resurrect the body of the indigenous Other and create a vehicle for the body to move in resistance to such erasure.

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Kerdarunsuksri, Kittisak. "Ramakian in Modern Performance: A Way to Cope With a Cultural Crisis." MANUSYA 6, no. 3 (2003): 24–46. http://dx.doi.org/10.1163/26659077-00603002.

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In the Bangkok period, the literary classic Ramakian has been reproduced again and again, either in literary forms or performing arts. This literary piece has been reinvented many times, particularly in the course of cultural crisis so as to demonstrate the glory of Thai culture. Although Ramakian is still able to be seen in the form of traditional theatre, i.e., khon (a masked dance-drama) in particular, it was also re-created in modern theatrical form during the mid-1990s, during which a cultural campaign was promoted by the government. This paper focuses on three modern theatrical productions of Ramakian : Rama - Sida ( 1996), Nonthuk (1997), and Sahatsadecha ( 1997), The paper addresses the questions: why was this classic re-created in modern performance and how was the story revised to make it fit into today’s society.

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Yanuartuti, Setyo, and Joko Winarko. "Revitalization of Jatidhuwur Jombang Mask Dance as An Effort To Reintroduce Local Cultural Values." Harmonia: Journal of Arts Research and Education 19, no. 2 (December 13, 2019): 111–16. http://dx.doi.org/10.15294/harmonia.v19i2.20437.

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Millennial era is an era where this generation is generally characterized by increasing the use and familiarity of communication, media and digital technology. This era will bring even further gaps in the attitude of this generation from the values of Indonesian life. The value of this nation’s life has long been stored under the arts and culture. In the midst of the downfall of the traditional art life, like the Jatid masked dance, we need the strategy for the young generation to value the local culture for filtering the exposure of foreign culture. This becomes the ground of current Jombang society which directing their art revitalization to the present cultural forms. That becomes the reason behind this study to be conducted. The purpose of this study is to realize the Jatidhuwur mask dance as a medium to introduce Jombang local cultural values to the current generation. The method used for revitalization is dance reconstruction. Reconstruction was carried out with the stages of excavation, setting the structure, developing elements of motion and accompaniment, and packaging, and introducing it to young people in Jombang. Data analysis uses an interactive model in the stages of data collection, data reduction, data presentation and conclusions. The results show that in the Jatidhuwur Mask dance performance there are local cultural values such as religious values, discipline values, life values, and the value of struggle. These local cultural values are revitalized and visualized through art elements such as themes (stories), plot, performance structure, and accompaniment in the touch of new cultivation. The dance is presented in the form of a single dance and a short dance drama (fragmentary), with a touch of technology.

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Sunardi. "A Mythical Medieval Hero in Modern East Java: The Masked Dance Gunung Sari as an Alternative Model of Masculinity." Ethnomusicology 64, no. 3 (2020): 447. http://dx.doi.org/10.5406/ethnomusicology.64.3.0447.

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Damrhung, Pornrat. "Exploring Partnerships with Common Roots: Two New Ways of Combining Classical Dance Tranditions in Mainland Southest Asian Performances." MANUSYA 14, no. 2 (2011): 36–52. http://dx.doi.org/10.1163/26659077-01402003.

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This article explores two different attempts to make partnerships for the today’s stage with teams of classically-trained Southeast Asian dancers in the last three years. Working in different conditions and toward different ends, the Cambodian and Thai dancers discussed in this paper combined their classical artistic training and interests into performances differently directed toward today’s diverse dance audiences. In particular, this paper will reflect on two classically-grounded partnering projects I helped to bring into being as a contemporary theatre artist and producer: the masked dance (khon) performances done at the Sala Chalermkrung Royal Theatre in Bangkok and the Revitalising Monkeys and Giants work-in-progress with Cambodian and Thai artists. By focusing on how these pieces evolved due to their distinct blend of external conditions and artistic aims, I will raise questions about the multiple and complex reasons that prompt traditional artists to work together across national and genre boundaries in order to make new pieces that are meaningful to them and to their audiences. The larger questions raised in this essay will address the identity of these traditional artists in these new settings and what grounds the varied choices of performance partnerships for their diverse contemporary audiences. I will also consider whether these new linkages can help to strengthen dance traditions and enhance the confidence of traditional performers on the stage today.

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Kopač, Andreja, Alja Lobnik, and Pia Brezavšček. "Good luck, dance!" Maska 34, no. 195 (March 1, 2019): 3–4. http://dx.doi.org/10.1386/maska.34.195.3_2.

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Schnabl, Ana. "Dance Criticism: The Criticism of Crisis." Maska 31, no. 177 (June 1, 2016): 6–13. http://dx.doi.org/10.1386/maska.31.177-178.6_1.

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The text “Dance Criticism: The Criticism of Crisis” thinks about the situation and role of dance criticism. The initial thesis of the text concerns itself with the misguidedness of dance criticism, which does not recognize the fact that contemporary dance is in crisis, but rather treats its subject as given. The text suspects that dance criticism – despite clear evidence of its confusion – still knows what dance is. Simultaneously, the text battles against the view that dance criticism should report on the quality of performances. It attempts to lay this view to rest and develops a different perspective, elevating dance criticism as the companion of the historical moment, the philosophical co-traveller of dance. The author hopes for different, dialectical and slippery critical forms and content.

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Sibila, Iva Nerina. "Searching for context – 1984." Maska 32, no. 183 (June 1, 2017): 111–26. http://dx.doi.org/10.1386/maska.32.183-184.111_1.

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An overview of the pivotal personalities on the Zagreb dance scene as related to the programming of the first Dance Week Festival in 1984. These are the School of Rhythmics and Dance, Contemporary Dance Studio, Free Dance Chamber Company and Zagreb Dance Company. By making a note on the progress of these entities, aesthetic orientations and positions in the social environment and reviewing the performances, a dynamics of the scene of the period is delineated.

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민신기 and LeeKyunSil. "Visual Consideration for the Growth of the People's Awareness in the Latter Part of the Joseon Dynasty - Focusing on the Mask for the Nobleman Dance, the 6th Part of the Bongsan Masked Dance." Journal of Digital Design 10, no. 4 (October 2010): 55–64. http://dx.doi.org/10.17280/jdd.2010.10.4.006.

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Šimunić, Katja. "Literary dance: A personal reflection about two dancers in Zagreb in the eighties." Maska 32, no. 183 (June 1, 2017): 127–33. http://dx.doi.org/10.1386/maska.32.183-184.127_1.

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A personal account of one segment of the Zagreb dance scene of the 1980s, on the example of a choreographic collaboration between Blaženka Kovač Carić and Snježana Abramović Milković, iconic dancers from the 1980s Zagreb dance scene, on the pieces Attic (1984) and Angel Hair (1986), produced by Zagreb Dance Company.

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Bravhar, Mitja. "The Occupied Festival: A Palestinian Dance Story." Maska 33, no. 189 (June 1, 2018): 100–104. http://dx.doi.org/10.1386/maska.33.189-190.100_7.

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Contemporary dance was introduced to Palestine eleven years ago, due to the hard work and persistence of the Sareyyet Ramallah organization in the West Bank. Every year, Sareyyet organizes a festival of contemporary dance that features both local and international productions, studio productions, auditions, workshops and international conferences. The much-beloved festival presents a range of types of contemporary dance to a wide audience. It creates the Palestinian dance story, full of cruel reality, on the one hand, full of pain and hope on the other, of the demand for interaction with the outside world and the desire to act and create solidarity.

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Kopač, Andreja, and Rok Vevar. "From Dance Manuals to Educational Institutions: Contemporary Dance Education in Slovenia." Maska 29, no. 163 (June 1, 2014): 54–71. http://dx.doi.org/10.1386/maska.29.163-164.54_1.

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Brezavšček, Pia, and Alja Lobnik. "Impulstanz 2019: A few thoughts." Maska 34, no. 198 (December 1, 2019): 133–37. http://dx.doi.org/10.1386/maska.34.198-199.133_1.

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Abstract During their residence in Vienna, the editors of this magazine visited a part of the ImpulsTanz festival in order to map international trends in contemporary dance. They established that, following an increase in the production of contemporary dance, interest in theory (the Maska magazine being an important part of this scene for several years now) experienced a decrease. They divided the production into three categories: A Dance of Great Names (mentioning Ivo Dimchev with Selfie Concert, Jonathan Burrows with Rewriting, a piece by Wim Vandekeybus/Ultima Vez Go Figure Out Yourself and a classic by DD Dorvillier/Human Future Dance Corps: No Change, or »Freedom Is a Psycho-kinetic Skill«), the position of the viewer and the hermeticisms of the current contemporary dance (analysing Anna Juren's 42, a solo performance by Dani Michel Cutlass Spring and Compass by Simone Augherlony, Petra Hrašćanec and Saša Božić) and new formalisms and contemporary repetition (Tatiana Chizhikova and Roman Kutnov: Time to Time and Ellen Furey and Malik Nashad Sharpe: SOFTLAMP.Autonomies).

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Vevar, Rok. "Contemporary Dance Association Slovenia: 25 years." Maska 34, no. 195 (March 1, 2019): 6–21. http://dx.doi.org/10.1386/maska.34.195.6_1.

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Kraigher, Amelia. "Movements in contemporary dance?" Maska 28, no. 159 (December 1, 2013): 3–4. http://dx.doi.org/10.1386/maska.28.159-160.3_2.

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Ikiroma-Owiye, Somieari Jariel. "Traditional Theatrical Practices in a Receding Economy: A Focus on TombianaEgbelegbeFestival of Rivers State." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 108–17. http://dx.doi.org/10.4314/ijah.v9i1.11.

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Lack of cultural reality has often led to recession in most developing societies as perceived in cultural studies. However, traditional adaptations are often deployed to cushion and possibly reverse the severity of recession across time and space. Instances of such reversals include the Chinese reversal to Confucianism, the Indian resort to Hinduism and the traditional African invocation of ancestral myths, religious observances and festivals. From the re-enactment of the procreative Tombiana Egbelegbe festival we have seen that traditional value creates order and social cohesion in African societies. A reversal to these traditional means of social reengineering will endear these creative practices that create order and social cohesion in African societies. Thus, the theoretical position of Marxist cultural inquiry will be applied as the theoretical framework for this paper. The Methodology applied in this study is research participant observation and sources of data were primary and secondary sources. The findings revealed that consistently, festivals are efforts of man to alleviate human suffering, create order and control his environment through creativity and cultural resourcefulness in performance. It was recommended that given the reality that is subsisting in most Nigerian communities, agrarian festivals, innovative, resourceful and masked designs, costumes, make-up, craftsmanship, dance, and music, drum communication should be encouraged. It was thus concluded that continuous performance will lead to preservation, packaging, promotion and transmission of cultural values from one generation to another which will in turn lead to cultural tourism. Cultural tourism can lead nations out of recession and economic dependence as was experienced in the Indian and Chinese cultural revolutionary experience. Key Words: Traditional theatrical practices, recession, human capacity development, TombianaEgbelegbe Festival

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Kopač, Andreja. "Folding the moment - writing dance: A few sketches on recording dance through time." Maska 28, no. 159 (December 1, 2013): 46–53. http://dx.doi.org/10.1386/maska.28.159-160.46_1.

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Vevar, Rok. "Waste management: Self interview on the Temporary Slovenian Dance Archive." Maska 30, no. 172 (July 1, 2015): 92–107. http://dx.doi.org/10.1386/maska.30.172-174.92_7.

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The contribution takes the form of a self-interview to tackle the analysis of the historicization of contemporary performing arts on the illustrative example of the Temporary Slovenian Dance Archive, founded by the author, a “precarious cultural worker”, as his personal cultural-activist project. The contribution offers basic information on the scale of the material, its systematization and the archive’s operating principle, which for now runs with no promise of adequate public infrastructure. The self-interview auto-reflexively unfolds the complex issue of the Temporary Slovenian Dance Archive, which stems from a wider issue of historicizing elusive, procedural and performative contemporary performing arts; at the same time, the self-interview begins to tackle deeper reasons for the lack of institutional background, which discourages the Temporary Slovenian Dance Archive from hoping to ever have any stable and continuous function. Most of all, the self-interview on the Temporary Slovenian Dance Archive opens up a question that exceeds contemporary performing arts, namely, in what way can the “impossible history” of non-territorial and transnational character be historicized at all.

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Brezavšček, Pia. "Untangling the oxymoron of repetition of the unrepeatable in dance improvisation." Maska 33, no. 191 (September 1, 2018): 78–94. http://dx.doi.org/10.1386/maska.33.191-192.78_1.

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The article explores repetition and the unrepeatability of the dance event using the example of Steve Paxton’s improvisations on Goldberg Variations, referred to by Jurij Konjar’s exploration of the thinkable body and Spångberg’s ‘Deleuzian bastardy’. Similarly, Jonathan Burrows and Jan Ritsema also look for the stuttering of dance language while also trying to avoid their own constraints.

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Brezavšček, Pia. "Festival of differences." Maska 30, no. 175 (November 1, 2015): 80–87. http://dx.doi.org/10.1386/maska.30.175-176.80_5.

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The article analyses the 7th Gibanica biennale of Slovenian contemporary dance. It notes that both festival prizes – the jury prize and the audience prize – have, for at least the second time in a row, come as a surprise, and that they represent a sort of subconscious mechanism. It highlights the importance of the festival conference about the Slovenian dancer, choreographer and pedagogue Ksenija Hribar (1938–1999), which also had a role in promoting the awards named after her (now awarded twice). By considering some of the themes in the works chosen for the biennale, which move from the conditions under which artistic work occurs and the objectives of that work to a within dance questioning of form, the heterogeneity of Slovenian contemporary dance is highlighted.

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Sirisena, Hasanthika. "Masked." American Book Review 37, no. 4 (2016): 14. http://dx.doi.org/10.1353/abr.2016.0067.

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Apostolou-Hölscher, Stefan. "Dance today: Between biopower and biopolitics." Maska 29, no. 165 (December 1, 2014): 154–61. http://dx.doi.org/10.1386/maska.29.165-168.154_1.

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Schnabl, Ana. "Dance Criticism: The Criticism of Crisis." Maska 30, no. 177 (June 1, 2016): 6–13. http://dx.doi.org/10.1386/maska.30.177-178.6_1.

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Irmer, Thomas. "The History of Dance as Hypertext." Maska 33, no. 189 (June 1, 2018): 116–17. http://dx.doi.org/10.1386/maska.33.189-190.116_5.

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This review presents Transforming Acts, a theatrical installation conceived by Penelope Wehrli and Detlev Schneider in 2014, which brings more than a hundred hours of documentary footage of performances and interviews with their authors, Pina Bausch, Laurent Chétouan, Joe Fabian, Jan Fabre, Johann Kresnik, Thomas Lehmen, Heiner Müller, Einar Schleef, Meg Stuart, Robert Wilson and others. The arrangement enabling their simultaneous screenings on five screens establishes numerous new connections between their works and thoughts.

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Ivić, Milica, and Igor Koruga. "Archiving the contemporary art of dance in Serbia: Issues with institutionalization, or on betraying the ‘Independence’ of the local dance scene." Maska 32, no. 183 (June 1, 2017): 45–68. http://dx.doi.org/10.1386/maska.32.183-184.45_1.

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After models that have been used so far on the local dance scene, there is a hybrid area of research that stood out in the vast field of research – the question of the institutional status/position of contemporary dance as an art practice, or in an even broader sense – a world of art, whose core value and political position in relation to the local scene was explicitly described as independent from institutions of art and culture. Our research into this issue was based mainly in interviewing eight independent choreographers who have worked with local institutions of dance and drama, primarily through artistic collaborations with directors of institutional drama theatres; we also gathered information in informal talks with other stakeholders in the performing arts. By juxtaposing a theoretical model of institutionalization of each art practice against a hybrid area of research such as this one, this text provides a very brief overview of all these issues as well as the discoveries and dilemmas that we came across during our research.

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Aigner, Franziska, and Uri Turkenich. "New beginnings after the war: Precision and mental freedom in dance and choreography – An interview with Susanna Linke." Maska 31, no. 181 (December 1, 2016): 58–67. http://dx.doi.org/10.1386/maska.31.181-182.58_7.

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Susanne Linke spoke to us about the state of dance in post-war Germany, her experiences of dancing for Pina Bausch at Folkwang Tanzstudio and her generation’s intuitive emancipatory gesture of abandoning classical roles and themes.

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Vevar, Rok. "From the Articulation of Problems to the Manifestative Claims for Sistemically Regulated Contemporary Dance Practices: The Contemporary Dance Association Slovenia." Maska 29, no. 163 (June 1, 2014): 92–99. http://dx.doi.org/10.1386/maska.29.163-164.92_1.

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HEXTER, RALPH. "Masked balls." Cambridge Opera Journal 14, no. 1-2 (March 2002): 93–108. http://dx.doi.org/10.1017/s0954586702000071.

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In the course of his insightful analysis of Act II of Un ballo in maschera, Harold Powers recurs to two critics of earlier generations who hyperbolically describe how, to cite his more measured summary, ‘the drama has turned into music as the opera was being composed. The music is the drama for an audience habituated to its conventions, its style, its genres’. Powers first quotes Gabriele Baldini, who describes the libretto of Il trovatore as ‘a phantom libretto, which became completely engulfed by the music and, once the opera was finished, disappeared as an individual entity’, and then the earlier Bruno Barilli, in whose view ‘the grotesque libretto is only the causal element that provokes the explosion, after which it collapses, annihilated – a confused scattering of rhymes, syllables, babblings – to vanish forever without a trace’. Although Powers and other more recent scholars tend to pay operatic words greater respect, I begin with an invocation of views that might seem anathema to a scholar of texts for the inspiring idea that the text can be ‘annihilated’ as one moves to another level of the work. In what follows, I intend to annihilate both text and music in order to dissolve to a yet higher level of analysis and to recuperate a specific history in which Verdi's Un ballo in maschera, I maintain, participates.

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Fisch, Robert Z., and Gidon Nesher. "Masked depression." Postgraduate Medicine 80, no. 3 (September 1986): 165–69. http://dx.doi.org/10.1080/00325481.1986.11699519.

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Aronow, Wilbert S. "Masked hypertension." Annals of Translational Medicine 5, no. 23 (December 2017): 456. http://dx.doi.org/10.21037/atm.2017.09.24.

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Jung, Lae Young, Kyung Pyo Kang, Won Kim, Sung Kwang Park, and Sik Lee. "Masked Hydronephrosis." Korean Journal of Internal Medicine 27, no. 2 (2012): 244. http://dx.doi.org/10.3904/kjim.2012.27.2.244.

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Lunzer, Francine. "Masked Marvels." Brain & Life 16, no. 5 (October 2020): 32–33. http://dx.doi.org/10.1097/01.nnn.0000719032.66015.47.

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Tyau, Gina. "MASKED ARTIST." Plastic and Reconstructive Surgery 115, no. 2 (February 2005): 657. http://dx.doi.org/10.1097/01.prs.0000149053.65833.33.

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Byrne, P. M. "Masked hypercalcaemia." Postgraduate Medical Journal 76, no. 892 (February 1, 2000): 117–19. http://dx.doi.org/10.1136/pmj.76.892.117.

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Pickering, Thomas G., Karina Davidson, William Gerin, and Joseph E. Schwartz. "Masked Hypertension." Hypertension 40, no. 6 (December 2002): 795–96. http://dx.doi.org/10.1161/01.hyp.0000038733.08436.98.

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Franklin, Stanley S., Eoin O’Brien, Lutgarde Thijs, Kei Asayama, and Jan A. Staessen. "Masked Hypertension." Hypertension 65, no. 1 (January 2015): 16–20. http://dx.doi.org/10.1161/hypertensionaha.114.04522.

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Cohen, Jordana B. "Masked Hypertension." Hypertension 76, no. 4 (October 2020): 1079–80. http://dx.doi.org/10.1161/hypertensionaha.120.15859.

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Lockhart, Lonn Bradley, and Albert W. Biglan. "Masked Blepharoptosis." Journal of Pediatric Ophthalmology & Strabismus 23, no. 1 (January 1986): 34–37. http://dx.doi.org/10.3928/0191-3913-19860101-10.

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Journal articles on the topic 'Dançe of the masked'

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