In 1549, Prince Philip of Spain made his entry into Antwerp together with his father, Emperor Charles V. For this occasion the rich city of commerce was transformed into a large theatrical space with triumphal arches and tableaux vivants as stage settings. The citizens and the princes acted as actors in a splendid parade, a battle array of four thousand participants, impressive tournaments and a huge firework display. This resulted in one of the most expensive and impressive festivities of the early modern period. The organizing municipality drew on various theatrical genres in an effort to bring about a renewal in the existing power relations between the Habsburg rulers and themselves, as well as the relations of the rulers with the population. Exactly how the city and the monarch were depicted was illustrative of the precious balance of power between the Habsburgs and the city fathers and of both parties toward their respective subjects. How these power relations were precisely staged in Antwerp is studied in this book.

Review

Stijn Bussels has written a wonderful book, one that succeeds in evoking before our eyes the very spectacle that it analyzes. No small merit indeed. - Sofie Kluge, University of Stockholm, in: Comparative Drama, April 2013, pp. 119-21
Spectacle, Rhetoric and Power is a valuable book, not just for its exposition of the 1549 entry but also for its implications for the study of other entries. More perhaps could have been said about Power, but as regards Spectacle and Rhetoric, particularly the connections between ceremonial events and theatrical genres or humanist thought, this book is exemplary, and deserves to be widely read. - Andrew Brown, in: Queeste 19, 2012, Vol. 1, pp. 74-76"

"Stijn Bussels has written a wonderful book, one that succeeds in evoking before our eyes the very spectacle that it analyzes. No small merit indeed." - Sofie Kluge, University of Stockholm, in: Comparative Drama, April 2013, pp. 119-21 "Spectacle, Rhetoric and Power is a valuable book, not just for its exposition of the 1549 entry but also for its implications for the study of other entries. More perhaps could have been said about 'Power', but as regards 'Spectacle' and 'Rhetoric', particularly the connections between ceremonial events and theatrical genres or humanist thought, this book is exemplary, and deserves to be widely read." - Andrew Brown, in: Queeste 19/1 (2012), pp. 74-76

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