The starting point of drama is religion. The root of the modern drama is based on the ritualistic resources of primitive religions.
A good dramatic play in the Middle Ages might need a blazing hellmouth or a few rockets firing about.
Can you answer these 43 questions about the history of the theatre, from the ancient Greeks to the end of the Middle Ages?
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.
Examining the Middle Ages through modern eyes: movies, TV, stage, tourism and books. How do we perform the Middle Ages?
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.
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…
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.
The earliest surviving reference to the Corpus Christi festival in York is dated 1322, when Archbishop William Melton commended it as „the glorious feast of the most precious sacrament of the flesh and blood of our Lord Jesus Christ‟. In 1408 the York Guild of Corpus Christi was established „as a confraternity of chaplains and lay persons, with the encouragement of the city government, probably to form the focus of the civic Corpus Christi Day procession‟.
This thesis examines the significance of the Virgin Mary in England between the late fifteenth century and early sixteenth century. The primary sources selected indicate the variety of ideas circulating about her during this period. Strictly religious texts such as the Bible and early Christian writings ground Late Medieval beliefs about Mary in their historical context.