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practical evidence only at in-field workshops and conferences.Ravelhofer's provocative use of reconstructions in an Oxford University Press monograph challenges dance and theatre historians alike to establish effective, rigorous methods for presenting practical evidence to popular and scholarly audiences.A glossary of reconstructors, a dedicated section of the bibliography for reconstructions and performances mentioned in the text, and an accompanying dvd with clips of relevant performances, especially those from rare or privately owned recordings, would be helpful additions to The Early Stuart Masque and similar works.The Early Stuart Masque: Dance, Costume, and Music combines careful research, an engaging narrative, plentiful illustrations, and the experience of modern-day dance reconstructions to offer insights relevant to multiple fields, reflecting both the author's varied areas of expertise and the interdisciplinarity of the masque form itself.In this fine study, Barbara Ravelhofer broadens current masque scholarship by demonstrating how dance, costume, and music bridge linguistic and cultural barriers, mediate or further political agendas, and provide audiences with a splendid and memorable feast for the senses.The Early Stuart Masque grants readers a welcome invitation to these spectacular, sensory feasts.
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