Pub Date : 2018-11-01DOI: 10.7228/manchester/9781526106407.003.0004
Susannah Crowder
Individual women employed performance in parish settings, as well; in Metz, such practices permitted female performers to “write” fresh meanings upon the histories of existing bodies, objects, and spaces. Catherine Gronnaix made sizable foundations at her parish church of St-Martin and at a nearby Celestine monastery; together, these formed an integrated program of liturgy that represented Catherine in the context of personal, family, and public memory. The resulting performances mapped social and spatial geographies onto the buildings and streets of Metz in ways that connected the various family identities that Catherine could claim. Confraternal devotion and material culture also played equally vibrant roles in the parish performances of women, however. Catherine participated in two religious associations at St-Martin and founded masses to be celebrated in their chapels. This chapter brings together these collective practices with the surviving late-medieval elements of the church: sculpture, murals, and windows. Building on recent work that positions devotional images as active objects within performance, it traces the impact of female “matter” and personal practice upon a shared sphere. At St-Martin, bodily performance situated women within privileged places and integrated them into a larger environment of memory, while distinguishing individuals through social and devotional hierarchies.
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Pub Date : 2018-11-01DOI: 10.7228/manchester/9781526106407.003.0002
Susannah Crowder
Female performers exist in a shadowy and illusory state, fashioned as such by our histories. Medieval chronicles systematically exclude women, inhibiting an understanding of them as actors in Metz and beyond. Yet the performing women of the 1468 Catherine of Siena jeu staged an interplay among personal devotion, political affiliation, and gendered notions of urban sanctity; this multiform and yet cohesive undertaking becomes fully visible through the triangulation of new material and familiar narrative evidence. This chapter first uncovers the distorting effects of written histories upon the Saint Catherine actor and constructions of female performance. It then turns to the archives and material culture to reveal the hidden family identity and social status of the actor: the role transformed its player permanently, positioning her as the living symbol of the saint within Metz. The patron, named Catherine Baudoche, also secured a lasting connection to the saint by referencing her personal foundations at the Dominicans. It aligned her with an elite group of regional women who promoted Catherine of Siena through liturgy, architecture, and manuscript illumination. The Saint Catherine jeu thus situates the actor and patron amid a community of practice that depicted women at the forefront of shared devotions to Saint Catherine within the urban, public sphere.
女性表演者存在于一种朦胧和虚幻的状态中，被我们的历史塑造成这样。中世纪编年史系统地将女性排除在外，阻碍了人们对女性在梅斯和其他地方扮演角色的理解。然而，1468年锡耶纳的凯瑟琳(Catherine of Siena jeu)的表演女性在个人奉献、政治派别和城市神圣性的性别观念之间上演了一场相互作用;通过新材料和熟悉的叙事证据的三角关系，这种多种形式但又有凝聚力的事业变得完全可见。本章首先揭示了书面历史对圣凯瑟琳演员和女性表演结构的扭曲作用。然后，它转向档案和物质文化，揭示了演员隐藏的家庭身份和社会地位:这个角色永久地改变了它的角色，将她定位为梅斯心中圣人的活生生的象征。这位名叫凯瑟琳·波多什(Catherine Baudoche)的赞助人也通过提到她在多米尼加的个人基础，与这位圣人建立了持久的联系。这使她与当地女性精英团体结盟，她们通过礼拜仪式、建筑和手稿照明来提升锡耶纳的凯瑟琳。因此，Saint Catherine jeu将演员和赞助人置于一个实践社区中，该社区描绘了在城市公共领域中对Saint Catherine共同奉献的最前沿的女性。
{"title":"Acting as Catherine: writing the history of female performers","authors":"Susannah Crowder","doi":"10.7228/manchester/9781526106407.003.0002","DOIUrl":"https://doi.org/10.7228/manchester/9781526106407.003.0002","url":null,"abstract":"Female performers exist in a shadowy and illusory state, fashioned as such by our histories. Medieval chronicles systematically exclude women, inhibiting an understanding of them as actors in Metz and beyond. Yet the performing women of the 1468 Catherine of Siena jeu staged an interplay among personal devotion, political affiliation, and gendered notions of urban sanctity; this multiform and yet cohesive undertaking becomes fully visible through the triangulation of new material and familiar narrative evidence. This chapter first uncovers the distorting effects of written histories upon the Saint Catherine actor and constructions of female performance. It then turns to the archives and material culture to reveal the hidden family identity and social status of the actor: the role transformed its player permanently, positioning her as the living symbol of the saint within Metz. The patron, named Catherine Baudoche, also secured a lasting connection to the saint by referencing her personal foundations at the Dominicans. It aligned her with an elite group of regional women who promoted Catherine of Siena through liturgy, architecture, and manuscript illumination. The Saint Catherine jeu thus situates the actor and patron amid a community of practice that depicted women at the forefront of shared devotions to Saint Catherine within the urban, public sphere.","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"27 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132359362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-01DOI: 10.7228/manchester/9781526106407.003.0007
Susannah Crowder
Although the Catherines and Claude slowly passed from memory, their performances and those of the women around them continued to represent their interests. The book concludes with an integrated portrait of women’s performance in fifteenth-century Metz that emphasises four significant themes: the production of history, collaboration, material and bodily practice, and continuity. The discussion traces interactions among the actions of the Catherines and Claude and explores the echoes of their practices over time. From a Pucelle character in the fifteenth-century Mystère de Saint Clément de Metz to a modern depiction of Joan of Arc at the church of St-Martin, female performance remained relevant to local constructions of identity and history. The section closes by suggesting that Performing women, having transformed female performance from “rare” to representative within Metz, offers a model for discovering the hidden histories of other urban centers and regions.
{"title":"Conclusion","authors":"Susannah Crowder","doi":"10.7228/manchester/9781526106407.003.0007","DOIUrl":"https://doi.org/10.7228/manchester/9781526106407.003.0007","url":null,"abstract":"Although the Catherines and Claude slowly passed from memory, their performances and those of the women around them continued to represent their interests. The book concludes with an integrated portrait of women’s performance in fifteenth-century Metz that emphasises four significant themes: the production of history, collaboration, material and bodily practice, and continuity. The discussion traces interactions among the actions of the Catherines and Claude and explores the echoes of their practices over time. From a Pucelle character in the fifteenth-century Mystère de Saint Clément de Metz to a modern depiction of Joan of Arc at the church of St-Martin, female performance remained relevant to local constructions of identity and history. The section closes by suggesting that Performing women, having transformed female performance from “rare” to representative within Metz, offers a model for discovering the hidden histories of other urban centers and regions.","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123399910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-01DOI: 10.7228/manchester/9781526106407.003.0005
Susannah Crowder
Two male monasteries – and their roles in the religious observances of laywomen – illuminate another facet of the relationship among gender, devotion, and performance in Metz. This chapter first revisits the Celestine community, deepening the findings of the third chapter by examining the institution that housed the family chapel of the Gronnaix and the burial place of Catherine Baudoche. Its spaces reveal a culture of performance that was grounded in women’s material contributions and spiritual needs; contemporary institutional histories construct a performance “edifice” that depicts the partnership of laywomen and the Celestine brothers. A second Messine religious community documents an alternative perspective on the role of women in long-term history-making and performance practice. Through liturgical performance, the monastery of St-Arnoul had claimed a past that tied Carolingian-era imperial identity to female sanctity and patronage. Catherine Gronnaix’s foundation of masses at St-Arnoul took place during the decline of this institutional narrative, however, when the preservation and appropriation of older traditions of female performance had lost appeal. In distinct eras, the cloistered spaces of St-Martin and St-Arnoul – both permeated by the presence and remains of laywomen and their devotions – sheltered collaborative performances that intertwined monastic and familial aspirations.
{"title":"Negotiated devotions and performed histories: laywomen in monastic spaces","authors":"Susannah Crowder","doi":"10.7228/manchester/9781526106407.003.0005","DOIUrl":"https://doi.org/10.7228/manchester/9781526106407.003.0005","url":null,"abstract":"Two male monasteries – and their roles in the religious observances of laywomen – illuminate another facet of the relationship among gender, devotion, and performance in Metz. This chapter first revisits the Celestine community, deepening the findings of the third chapter by examining the institution that housed the family chapel of the Gronnaix and the burial place of Catherine Baudoche. Its spaces reveal a culture of performance that was grounded in women’s material contributions and spiritual needs; contemporary institutional histories construct a performance “edifice” that depicts the partnership of laywomen and the Celestine brothers. A second Messine religious community documents an alternative perspective on the role of women in long-term history-making and performance practice. Through liturgical performance, the monastery of St-Arnoul had claimed a past that tied Carolingian-era imperial identity to female sanctity and patronage. Catherine Gronnaix’s foundation of masses at St-Arnoul took place during the decline of this institutional narrative, however, when the preservation and appropriation of older traditions of female performance had lost appeal. In distinct eras, the cloistered spaces of St-Martin and St-Arnoul – both permeated by the presence and remains of laywomen and their devotions – sheltered collaborative performances that intertwined monastic and familial aspirations.","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122272389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-01DOI: 10.7228/MANCHESTER/9781526106407.003.0003
Susannah Crowder
Catherine Baudoche’s versatile patronage illustrates that, in Metz, female performance fed broader currents of cultural patronage and financial agency. This chapter develops a multifaceted portrait through the biographies of Catherine and her stepmother, Catherine Gronnaix, revealing a family history that positioned these women at a nexus of social and economic power. Through ceremonial practice and entertainments, these two Catherines forged connections with local and trans-regional elites that reinforced those created by the Saint Catherine jeu. Moreover, at multiple points in their lives – early childhood, youth, marriage, widowhood, old age – the Catherines took part in financial transactions that put them at the center of performative legal acts. Catherine Gronnaix, for example, enacted her vassalage to the dukes of Lorraine through a combination of spoken oath and physical sealing. Such performances served as a sign and representation of identity that was affirmed through public rite. Personal wealth enabled the financial power that supported acts of dramatic and liturgical patronage. Yet economic ownership and agency also positioned the Catherines to represent themselves in seals, legal language, ceremonies, and household performances that established them as full participants in the Messine legal and political spheres.
{"title":"‘I, Catherine’: biography, documentary culture, and public presence","authors":"Susannah Crowder","doi":"10.7228/MANCHESTER/9781526106407.003.0003","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526106407.003.0003","url":null,"abstract":"Catherine Baudoche’s versatile patronage illustrates that, in Metz, female performance fed broader currents of cultural patronage and financial agency. This chapter develops a multifaceted portrait through the biographies of Catherine and her stepmother, Catherine Gronnaix, revealing a family history that positioned these women at a nexus of social and economic power. Through ceremonial practice and entertainments, these two Catherines forged connections with local and trans-regional elites that reinforced those created by the Saint Catherine jeu. Moreover, at multiple points in their lives – early childhood, youth, marriage, widowhood, old age – the Catherines took part in financial transactions that put them at the center of performative legal acts. Catherine Gronnaix, for example, enacted her vassalage to the dukes of Lorraine through a combination of spoken oath and physical sealing. Such performances served as a sign and representation of identity that was affirmed through public rite. Personal wealth enabled the financial power that supported acts of dramatic and liturgical patronage. Yet economic ownership and agency also positioned the Catherines to represent themselves in seals, legal language, ceremonies, and household performances that established them as full participants in the Messine legal and political spheres.","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129594815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-01DOI: 10.7228/MANCHESTER/9781526106407.003.0006
Susannah Crowder
The final chapter returns to the figure of the female actor, examining the performances of a young woman who claimed to be Joan of Arc and the implications of her role. In the spring of 1436, just five years after Joan’s execution in Rouen, an enigmatic young woman appeared to the citizens of Metz. Representing herself as the Pucelle, this actor asked the gathering audience to call her Claude; in the following days and weeks, Claude publicly assumed the Pucelle role through a series of ceremonies that formally recognised her as “Joan”. Interpretations of Claude’s playing of Joan have been dominated by histories – both medieval and modern – that read her actions as being the “false” gestures of an impostor. This chapter approaches the role afresh, however, by considering embodied performance methods and contemporary reception to investigate how and why Claude persuaded her audiences to embrace a new iteration of Joan. Multiple women took part in the Pucelle scenario, using impersonation-based performance techniques to store and communicate Joan’s identity and an associated body of knowledge. Like the Saint Catherine actor, Claude’s example reframes “exceptional” female actors as instead being exemplary: performing women represent the visible face of poorly documented, yet widespread performance strategies.
{"title":"‘Call me Claude’: female actors, impersonation, and cultural transmission","authors":"Susannah Crowder","doi":"10.7228/MANCHESTER/9781526106407.003.0006","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526106407.003.0006","url":null,"abstract":"The final chapter returns to the figure of the female actor, examining the performances of a young woman who claimed to be Joan of Arc and the implications of her role. In the spring of 1436, just five years after Joan’s execution in Rouen, an enigmatic young woman appeared to the citizens of Metz. Representing herself as the Pucelle, this actor asked the gathering audience to call her Claude; in the following days and weeks, Claude publicly assumed the Pucelle role through a series of ceremonies that formally recognised her as “Joan”. Interpretations of Claude’s playing of Joan have been dominated by histories – both medieval and modern – that read her actions as being the “false” gestures of an impostor. This chapter approaches the role afresh, however, by considering embodied performance methods and contemporary reception to investigate how and why Claude persuaded her audiences to embrace a new iteration of Joan. Multiple women took part in the Pucelle scenario, using impersonation-based performance techniques to store and communicate Joan’s identity and an associated body of knowledge. Like the Saint Catherine actor, Claude’s example reframes “exceptional” female actors as instead being exemplary: performing women represent the visible face of poorly documented, yet widespread performance strategies.","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115597620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-31DOI: 10.7765/9781526127242.00006
Susannah Crowder
{"title":"Family tree of Catherine Baudoche and Catherine Gronnaix","authors":"Susannah Crowder","doi":"10.7765/9781526127242.00006","DOIUrl":"https://doi.org/10.7765/9781526127242.00006","url":null,"abstract":"","PeriodicalId":377166,"journal":{"name":"Performing women","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124094661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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