By K. Reilly
The automaton, recognized at the present time because the robotic, will be obvious as a metaphor for the ancient interval within which it really is explored. Chapters contain examinations of Iconoclasm's worry that artwork may well surpass nature, the Cartesian mind/body divide, automata as items of courtly wish, the uncanny Olympia, and the progressive Robots in post-WWI drama.
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Additional resources for Automata and Mimesis on the Stage of Theatre History
He describes the process of taking stalactites from natural caves and then carefully installing them on the artificial grotto ceiling with the help of iron bars. ’80 The water dripping from the stalactites is thus controlled by a mechanical key for grotto audiences. In other words, nature is artificially contained and augmented through machinery. 82 Statuary and hydraulic automata became central features of the grottoes which were seen as key extensions of the Kunstkammer. De Caus collaborated with Inigo Jones in his creation of Somerset House, and hydraulic automata or moving statuary were a key feature in the grottoes.
Dee’s designs were informed by the Renaissance Humanist ideals – Dee used his mimetic faculty, or that desire to imitate, that we use to performatively create and construct our realities, to copy Vitruvius’s designs and build his flying beetle. Dee looked to the classical world to create his complex machine. However, English audiences read them in the discourse most familiar to them, that discourse was Iconoclasm. Another example of a moving statue that caused wonder and delight in France was Benvenuto Cellini’s Jupiter.
Once 30 Automata and Mimesis ‘dissolved’, the liquidity of the monasteries, their tremendous land holdings and other wealth, flowed directly into the royal coffers. ’59 In addition to court masques, royal pleasure gardens provided a suitably luxurious setting that reinforced his princely splendour. Henry hired French gardeners for his Privy Garden at Hampton Court and his Nonsuch Palace garden, both of which were filled with heraldic emblems and royal beasts. An interesting part of the legacy of these princely pleasure gardens is that they later provide a similar destination to that of monastic pilgrimages prior to the Henrician Reformation, a subject that will be returned to later.
Automata and Mimesis on the Stage of Theatre History by K. Reilly