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.
The early Church had a mostly critical attitude towards the dance. It was said that those who dance cherish heathen godheads and that they allow their bodies rule over their minds. Repeatedly, the synods prohibited religious dances and/or dances within churches.
Medieval English theatre is a term covering a large body of plays, performances and theatrical activities. The entire period of medieval drama spans for five hundred years.
The name Machiavelli has negative connotations, and this way of thinking is not new. Throughout Europe, in Shakespeare’s time and earlier, Machiavellianism was associated with unscrupulous abuse of power, and Machiavellian methods were seen as immoral and evil.
This thesis will examine the manner in which Shakespeare drew upon existing sources material to depict a king whose inherent character flaws made him unworthy of his crown.
A Medieval Christmas: Go We hence to Bethlehem’s Bower – playing this weekend in Toronto
With such a model in mind, then, we have entered into a discussion of art, myth‐making, and the Primary World from a combined academic and artistic perspective.
Did an onstage execution really take place in 1549 in the city of Tournai or not?
The talking brass heads in Greene’s plays are descendants of two ancient traditions that became intermingled during the Middle Ages
At the beginning of the tradition, the pageants were linked to the religious procession on Corpus Christi Day. In the city og York this procession was organised by the Corpus Christi Guild as a separate event from the celebration of the minister.
If we are going to acknowledge the afterlife of medieval genres, subject matters, motifs and techniques, three methods of research are preferable: 1. looking for simple continuity, 2. taking into account residual afterlife of medieval items in popular culture including folklore, and 3. recognizing the phenomena of the renewal of medieval genres in later ages.
While conjugal love was encouraged by the medieval Church, chastising women by their husbands was commonly practised in the late medieval and early modern periods.
As a geographic trope transposed to literary discourse, discovery remains closely linked to the desire for possession. Postcolonial criticism has sought to deconstruct the feminized and sexualized discourses of geographic places and spaces as objects of desire, invasion, and annexation.
In this paper I wish to single out one group of Middle English writings, the mediaeval drama, to examine more closely the interesting applications of the doctrine as exhibited in the “banns” of the miracle plays and of certain moralities, and in the traditional prologues, but es pecially in the more “organic” solutions arrived at by the authors of Man kind and Everyman.
I will briefly examine here the identity of farce’s violent characters and their victims, as well as the deviant behaviors punished by comically violent means, ending with a brief discussion of the social conditions which, in my opinion, may have caused the farce’s target audience to enjoy watching the aggressive correction of certain types of antisocial behavior in the century following the Hundred Years’ War.
Medieval mystery plays were cycles of plays, covering salvation history from the Creation to the Last Judgment, which were performed in England during the late Middle Ages.
The Digby Mary Magdalene is contained in the Digby MS. 133 of the Bodlein Library. Included in the Manuscript are three other plays, Killing of the Children, The Conversion of St Paul, and a portion of Wisdom.
Overall, the analysis will allow for a closer examination of not just the culture of a particular confraternity, but also the cultural values, ideals, and practices of an entire community in one period of time. Furthermore, the examination of confraternal artwork will prove important, as it will demonstrate the unique power of confraternities.
A younger contemporary of Richard of St.-Victor, Jean Beleth (fl. 1160), acknowledged the popular name of the feast: “The feast of the subdeacons, which we call ‘of fools’, by some is executed on the Circumcision, but by others on Epiphany or its octave.’
This article considers some physical aspects of the medieval pageant wagons used for the York Cycle. Many modern reconstructions have assumed that the pageants played side-on, but this view rests on assumptions derived from modern theatre, medieval two-dimensional art, or the demands of the open campus locations where many modern performances have taken place.
They were the sitcoms of their time –– lowbrow comedies that lampooned every serious topic, from sex and relationships to politics and religion
‘I do mistake my person all this while’: Blindness and Illusion in Richard III Rutter Giappone, Krista Bonello (University of Kent) Skepsi: Bad…
Gail McMurray Gibson said that her college professors first sparked her interest in medieval studies. She has pursued that interest and become one…