This year marks the 400th anniversary of the death of William Shakespeare (1564-1616). The British Library has honoured his contribution to English literature and the stage in a celebratory exhibition that runs until September 6th. British Library curators, Julian Harrison and Zoë Wilcox, have crafted an impressive exhibit that covers Shakespeare’s importance in ten acts.
The Golden Age Theatre Company, who put on this reboot of Richard’s life, tried to portray a different side of the story
Over the holiday season, Southwark Playhouse is presenting their reinterpretation of The Ballad of Robin Hood.
Poculi Ludique Societas (PLS) continues its year-long celebration of fifty years of performance research practice at the University of Toronto with the Festival of Early Drama.
Instead, one finds accurate, even rather compassionate accounts of Islamic theology side by side with bizarre, antagonistic, and even hateful depictions of Muslims and their belief.
The story of her struggle with her husband, Henry II, at the time of the death of their eldest son, Henry the Young King, in 1183, has been made into a play by James Goldman, called The Lion in Winter, which was produced successfully on Broadway in March, 1966.
Plays about saints—their lives, martyrdoms, and miracles—flourished in England for more than three centuries side-by-side with the Corpus Christi cycles.
The medieval literature was written with a purpose to teach Christian dogmas to the masses. The prose and poetry of the time meant to show men the ugliness of sin and the beauty of goodness.
This is my review of the T.S. Eliot’s play, “Murder in the Cathedral”, on at St. Bartholomew in Smithfield, London.
Substitution is concerned with replacing one thing with another. This is straight forward enough. But to what extent is the replacement indistinguishable from the original in order to qualify as substitution?
I still want students to move from the page to the stage, and to think of the cultural contexts of performance in the past and in our present, especially since so much of medieval drama’s richness is only apparent in the fullness of its cultural and historical contexts.
Unlike in many of today’s performances, audiences were encouraged to participate in the action, heckling the ‘bad guys’ and cheering for the ‘good guys.’
The early-modern, Portuguese-sponsored Jesuit mission to Japan left behind a body of Christian literature in Japanese whose alphabetic texts have been a treasure trove for linguists, its existence a point of pride for Christian sectarians, and its content rich material for historians.
Sal ich von den Ioden liten große pin? – Integration and Isolation in the Medieval German Christmas Play
I would like to start with two responses to the performance of Christmas plays that provide some insight into their effect on the socialization of the Christian communities in which they were performed.
Take in this medieval play in Toronto on Friday December 13th and Saturday, December 14th
This thesis offers a new approach to the study of actor-audience relations in late medieval English drama and endeavours not only to emphasise the performative elements of medieval plays, but also the effects that they may have produced in performance.
Caught in the (One-)Act: Staging Sex in Late Medieval French Farce Sharon D. King Paper given at the 14th Triennial Colloquium of the Société Internationale pour l’étude du Théâtre Médiéval Poznań, Poland, 22nd – 27th July (2013) Abstract Among the myriad subjects for comical delectation of audiences of late medieval France,the rules and roles of […]
What I would like to do here is examine the passages of violence and other bits of scenography, moving from the macro to the micro level and back again, over the three- day play. With 260 rubrics (stage directions) embodied in the text, a manuscript nearly contemporaneous with the performance itself, we have a unique opportunity to visualize much of the action on stage.
In the fifteenth-century Passion d’Auvergne, the rounding up of martyrs for persecution inspires torturer Maulbec to teach his cronies the words of a hunting song which imitates the cries of wounded animals.
As many as forty-six plays, amounting to more than thirteen thousand lines of verse, may have preceded the performance of the Doomsday play. Together they hit most of the highlights of the Christian canon and apocrypha.
What first struck me when I started my research on the Elder Edda is that, during the past four decades, several theatre practitioners have experimented with presentations of some of the poems and demonstrated that they can be highly effective in dramatic performance.