By K. Reilly

The automaton, identified this present day because the robotic, may be noticeable as a metaphor for the ancient interval within which it truly is explored. Chapters comprise examinations of Iconoclasm's worry that paintings may possibly surpass nature, the Cartesian mind/body divide, automata as gadgets of courtly wish, the uncanny Olympia, and the progressive Robots in post-WWI drama.

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Extra resources for Automata and Mimesis on the Stage of Theatre History

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May from the altar flames aspire, Those tapers set themselves afire. May senseless things our joys approve 44 Automata and Mimesis And those brazen statues move Quickened by some power above. i. ’ The dancing statues – operating in terms of wonders quickened by heavenly powers from above – directly connect the Black Knight and Black King to the idolatry of Spanish Catholic popery and the opulence of the court masque. ’96 The moving statues of A Game At Chess indicate the Catholic mischief and false miracles associated with idolatry and popery.

The astonishing animation of the statue made it seem alive, causing François I to praise Cellini’s work above and beyond all others. Animation was remarkable and signified the possibility of life. ’54 Court masques, cabinets of curiosity and automata Fiercely competitive, Henry VIII was not to be outdone by François in celebrations of princely splendour. It was during his reign that the Iconoclasm and Automata 29 term ‘court masque’ was first used at Westminster Hall, with reference to a Twelfth Night entertainment of January 1510, described in great detail by court chronicler Edward Hall.

Ben Jonson’s tragedy Sejanus, His Fall (1603) also uses moving statues through the emerging aesthetic of classical Humanism to discuss Iconoclasm. The play focuses upon the wicked Sejanus, advisor to Emperor Tiberius, who becomes obsessed with power and falls from grace. According to the folio, Sejanus, His Fall was first performed at the Globe by the King’s Men in late 1603 and played only once, since it was deemed a notorious failure. Jonson may well have been working on the play for upwards of two years prior to its first production.

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