Medieval theatre
Medieval theatre encompasses
Due to a lack of surviving records and texts, low literacy in the general population, and the opposition of the clergy, there are few surviving sources from the Early and High Medieval periods. However, by the late period, performances began to become more secularized; larger number of records survive.
Difficulty of finding appropriate terms
Because contemporary conceptions about theatre differ radically from the performance culture of the pre-modern world, it is difficult to find appropriate terms. First, "medieval" denotes a time period (500–1500) far too large and complex to understand in short descriptions. And within it, there was "a vast and varied spectrum of kinds of performances: ludus, jeu, ordo, representatio, officium, pagina, miraculum, mystère, processus, interlude, morality, mumming, disguising, and, of course, play."[1] These had little to do with stage performance in the 21st century.
Transition from Rome, 500–900 A.D.
As the
Theatres were considered by many to be a diabolical threat to
Early Medieval theatre
Faced with the problem of explaining a new religion to a largely illiterate population, churches in the
The anonymous pagan play
High and Late Medieval theatre
Performance of religious plays outside of the church began sometime in the 12th century through a traditionally accepted process of merging shorter dramas into longer plays, which were then translated into vernacular and performed by laymen, and thus accessible to a wider segment of society inclusive of the working class. The use of vernacular enabled drama to be understood and enjoyed by a larger audience. The Mystery of Adam (1150) gives credence to this theory, as its detailed stage direction suggest that it was staged outdoors. A number of other plays from the period survive, including La Seinte Resurrection (Norman), The Play of the Magi Kings (Spanish), and Sponsus (French).
The Feast of Fools was especially important in the development of comedy. The festival inverted the status of the lesser clergy and allowed them to ridicule their superiors and the routine of church life. Sometimes plays were staged as part of the occasion, and a certain amount of burlesque and comedy may have entered the liturgical drama as a result of its influence.[7]
Economic and political changes in the
The majority of actors in these plays were drawn from the local population. For example, at
The earliest secular drama is The Play of the Greenwood by
A significant forerunner of the development of
Changes in the Early Modern Period
Changing political and economic factors greatly affected theatre at the end of the Middle Ages and beginning of the
A revival of interest in ancient Roman and Greek culture changed the tastes of the learned classes in the performing arts. Greek and Roman plays were performed and new plays were written that were heavily influenced by the classical style. This led to the creation of Commedia dell'arte and influenced Renaissance theatre.
A change of patronage also caused drastic changes to the theatre. In England, the monarch and nobility started to support professional theatre troupes (including Shakespeare's Lord Chamberlain's Men and King's Men), which catered to their upper-class patrons' tastes.
Finally, the construction of permanent theaters, such as The Theatre, signaled a major turning point. Permanent theaters allowed for more sophisticated staging and storytelling.
Modern productions of Medieval theatre
Mummers plays
Mystery plays
Mystery plays are still produced regularly throughout the
In 1977, the
In 2001, the Isango Ensemble produced an African version of the Chester Cycle at the Garrick Theatre in London as The Mysteries – Yiimimangaliso, performing in a combination of Xhosa, Zulu, English, Latin and Afrikaans. They revived an adapted version of the production at Shakespeare's Globe in 2015 as The Mysteries.[20] In 2004, two mystery plays (one focusing on the Creation and the other on the Passion) were performed at Canterbury Cathedral, with actor Edward Woodward in the role of God. The large cast also included Daniel MacPherson, Thomas James Longley and Joseph McManners.[21]
Morality plays
The first modern stage production of
Another well-known version of the play is
Miracle plays
Performances of Christ's Nativity are frequent during the Christmas season, and many schools and Sunday school groups regularly perform scenes from the bible with children. The reenactment of Jesus Christ's Passion is performed throughout the world in Lent.
See also
- Wakefield Mystery Plays
- The Second Shepherds' Play
- History of theatre
- Medieval French literature
- Carnival
- The Vice
Notes
- OCLC 826023551.
- ^ Brockett and Hildy (2003, 70)
- ^ a b Wise and Walker (2003, 184)
- ^ a b Brockett and Hildy (2003, 77)
- ^ Wise and Walker (2003, 190)
- ^ a b Brockett and Hildy (2003, 76)
- ^ Brockett and Hildy (2003, 80).
- ^ A History of English literature for Students, by Robert Huntington Fletcher, 1916: pp. 85–88
- ^ Brockett and Hildy (2003, 86)
- ^ Brockett and Hildy (2003, 95)
- ^ Brockett and Hildy (2003, 96)
- ^ Brockett and Hildy (2003, 101–103)
- ^ Hannant (2011).
- ^ Rogerson, Margaret. The Plays and the Guilds Archived 2015-11-01 at the Wayback Machine, York Mystery Plays
- ISBN 978-1-84384-128-9.
- ^ Lichfield Mysteries: Home Page, retrieved 28 January 2011
- ^ Dodsworth, Martin (9 January 1986). "A poet in the land of as if". The Guardian. London.
- ISBN 0-571-13790-3.
- ^ Shakespeare's Globe. The Globe Mysteries. 2011
- ^ Shakespeare's Globe. The Isango Ensemble Mysteries 2015
- ^ BBC News. Revival of Medieval Mystery Plays. Thursday, 5 August 2004,
- ^ Kuehler, Stephen G., (2008), Concealing God: The "Everyman" revival, 1901–1903, Tufts University (PhD. thesis), 104 p.
- ^ Everyman (Broadway play) at the Internet Broadway Database
- IMDb– 1913 film version.
- IMDb– 1914 film version.
- ^ Banham (1998), p. 491
- ^ "Everyman (2002)". IMDb. 17 July 2002.
- ^ "BBC Radio 4 – Saturday Review, Everyman, Far from the Madding Crowd, Empire, Anne Enright, Christopher Williams". BBC.
Sources
- Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
- Bate, Keith, ed. 1976. Three Latin Comedies. Toronto: Centre for Medieval Studies.
- Brockett, Oscar G. and Franklin J. Hildy. 2003. History of the Theatre. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN 0-205-41050-2.
- Cohen, Robert. 2000. Theatre: Brief Edition. Mayfield: McGraw-Hill. ISBN 978-0077333515.
- Hannant, Sara. 2011. Mummers, Maypoles and Milkmaids: A Journey Through the English Ritual Year. London: Merrell. ISBN 978-1-8589-4559-0.
- Klaus, Carl H., Miriam Gilbert, and Braford S. Field Jr. 1991. "Stages of Drama." New York: St. Martin's.
- Knight, Alan E. 1983. "Aspects of Genre in Late Medieval French Drama." Manchester University Press.
- McAlister, Linda. 1996. "Hypatia's Daughters: 1500 Years of Women Philosophers." Hypatia Inc.
- Nelson, Alan H. 1972. "Some Configurations of Staging in Medieval English Drama" Medieval English Drama: Essays Critical and Contextual Chicago: University of Chicago Press. 116–147.
- Styan, J.L. 1996. The English Stage: A History of Drama and Performance. Cambridge: Cambridge University Press. ISBN 0-521-55636-8.
- Symes, Carol. 2007. A Common Stage: Theatre and Public Life in Medieval Arras. Ithaca: Cornell University Press. ISBN 978-0801445811.
- Walsh, Martin. 2002. "Drama." Medieval Folklore: A Guide to Myths, Legends, Tales, Beliefs, and Customs. Oxford: Oxford University Press. ISBN 978-1576071212.
- Wise, Jennifer and Craig S. Walker, eds. 2003. The Broadview Anthology of Drama: Plays from the Western Theatre, Volume 1. Toronto: Braodview Press.