This paper seeks to highlight the diversity of potential audience responses in the Middle Ages, using the audience feedback from two 2016 performances of the Northampton Abraham and Isaac as a test case. These data demonstrate that at least this play, and presumably medieval drama more generally, trigger widely divergent responses from modern audiences. Moreover, medieval sources strongly suggest that many of these modern responses map extremely well onto the medieval ones.
{"title":"A Quantitative and Qualitative Assessment of Audience Responses","authors":"C. Steenbrugge","doi":"10.1484/j.emd.5.116047","DOIUrl":"https://doi.org/10.1484/j.emd.5.116047","url":null,"abstract":"This paper seeks to highlight the diversity of potential audience responses in the Middle Ages, using the audience feedback from two 2016 performances of the Northampton Abraham and Isaac as a test case. These data demonstrate that at least this play, and presumably medieval drama more generally, trigger widely divergent responses from modern audiences. Moreover, medieval sources strongly suggest that many of these modern responses map extremely well onto the medieval ones.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"67-83"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678709","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}
The visitatio sepulchri is an unusual, if not to say ‘strange’ immersion in the liturgy of Easter. The acting persons take roles and turn into ‘actors’. Their clothing and the liturgical instruments they use are turned into costumes and props. Liturgy’s hic et nunc is replaced by a narrative. This kind of ‘play’ is normally performed in the openly accessible part of a church; laymen thus had the chance to somehow participate in the plays. Medieval libri ordinarii prove that the visitatio sepulchri is more than ‘paraliturgy’ (as it has been called by Johannes Janota), which could be added to liturgy or alternatively left out, but it is a fully integral part of liturgy; it was compulsory, and even small parish churches obeyed to the rule and had a visitation sepulchri as part of their Easter liturgy.
{"title":"Das Andere der Visitatio Sepulchri in Liturgie und Geistlichem Spiel","authors":"S. Engels","doi":"10.1484/J.EMD.5.116049","DOIUrl":"https://doi.org/10.1484/J.EMD.5.116049","url":null,"abstract":"The visitatio sepulchri is an unusual, if not to say ‘strange’ immersion in the liturgy of Easter. The acting persons take roles and turn into ‘actors’. Their clothing and the liturgical instruments they use are turned into costumes and props. Liturgy’s hic et nunc is replaced by a narrative. This kind of ‘play’ is normally performed in the openly accessible part of a church; laymen thus had the chance to somehow participate in the plays. Medieval libri ordinarii prove that the visitatio sepulchri is more than ‘paraliturgy’ (as it has been called by Johannes Janota), which could be added to liturgy or alternatively left out, but it is a fully integral part of liturgy; it was compulsory, and even small parish churches obeyed to the rule and had a visitation sepulchri as part of their Easter liturgy.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"101-122"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678795","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}
Allusions to the Lamb of God have often been noted in the York Offering of the Shepherds and the Towneley Prima and Secunda Pastorum, the comic pastors aligned with the coming of Christ. Yet in the period of these performances the Agnus Dei, the Lamb of God, represented more than we might first glean from visual iconography, or the several lines spoken at Mass. The term Agnus Dei could also refer to a popular devotional object with supposedly magical or apotropaic powers, the properties of which-I argue-are playfully referenced in these performances. I consider how and why these popular amulets might have shaped the plays, and particularly how this reading might offer a new approach to understanding the wealth of humour within them.
{"title":"\"With myrth and gam, To the lawde of this lam\": Shepherds and the Agnus Dei in the York and Towneley Plays","authors":"Jamie Beckett","doi":"10.1484/j.emd.5.116051","DOIUrl":"https://doi.org/10.1484/j.emd.5.116051","url":null,"abstract":"Allusions to the Lamb of God have often been noted in the York Offering of the Shepherds and the Towneley Prima and Secunda Pastorum, the comic pastors aligned with the coming of Christ. Yet in the period of these performances the Agnus Dei, the Lamb of God, represented more than we might first glean from visual iconography, or the several lines spoken at Mass. The term Agnus Dei could also refer to a popular devotional object with supposedly magical or apotropaic powers, the properties of which-I argue-are playfully referenced in these performances. I consider how and why these popular amulets might have shaped the plays, and particularly how this reading might offer a new approach to understanding the wealth of humour within them.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"141-158"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678848","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}
This paper investigates how the performance of devotion and faith by female elites in fifteenth-century francophone Metz contributed to the creation of community narratives and cultural memory. Concentrating on Catherine Gronnaix, a wealthy patrician and key patron of the parish church of St-Martin, it embeds her personal religious practices and those of her peers within this space and its material culture. Analysis of the sculpture, murals, and windows of the Notre Dame chapel reveals that, over time, use of these images shaped a local paradigm of women’s performance in which female practice was elevated on the basis of a gendered capacity to nurture and bring forth sanctity.
{"title":"Gendered Devotions: Negotiating Body, Space, Object, and Text through Performance","authors":"Susannah Crowder","doi":"10.1484/j.emd.5.116046","DOIUrl":"https://doi.org/10.1484/j.emd.5.116046","url":null,"abstract":"This paper investigates how the performance of devotion and faith by female elites in fifteenth-century francophone Metz contributed to the creation of community narratives and cultural memory. Concentrating on Catherine Gronnaix, a wealthy patrician and key patron of the parish church of St-Martin, it embeds her personal religious practices and those of her peers within this space and its material culture. Analysis of the sculpture, murals, and windows of the Notre Dame chapel reveals that, over time, use of these images shaped a local paradigm of women’s performance in which female practice was elevated on the basis of a gendered capacity to nurture and bring forth sanctity.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"43-66"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678695","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}
The primary purpose of this article is to convey, through a liberal translation, the amusing and pedagogical aspects of Jean Gerson (1363-1429) morality plays L’ecole de la raison, commonly known as the Dialogue of the heart and five senses in English, and L’ecole de la conscience, both written for his young students. Focusing on the notion of six senses, expressed in both of his morality plays, with the sixth sense identified with the heart, the study will apply to Gerson’s texts various theoretical approaches to humour, such as the perceived superiority model and the incongruity-resolution theory, as well as Mikhail Bakhtin’s concept of grotesque realism.
本文的主要目的是通过意译来传达让·格森(Jean Gerson, 1363-1429)的道德剧《理性》(L 'ecole de la reason)和《良心》(L 'ecole de la conscience)的有趣和教学方面，这两部剧都是为他的年轻学生写的。本研究以格尔森两部道德剧中所表达的“六感”概念为中心，将第六感与心相一致，并将其应用于格尔森文本中各种幽默理论方法，如感知优势模型和不协调解决理论，以及巴赫金的怪诞现实主义概念。
{"title":"Humour as a Teaching Tool in Jean Gerson’s (1363–1429) Morality Plays","authors":"Y. Mazour‐Matusevich","doi":"10.1484/J.EMD.5.114447","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114447","url":null,"abstract":"The primary purpose of this article is to convey, through a liberal translation, the amusing and pedagogical aspects of Jean Gerson (1363-1429) morality plays L’ecole de la raison, commonly known as the Dialogue of the heart and five senses in English, and L’ecole de la conscience, both written for his young students. Focusing on the notion of six senses, expressed in both of his morality plays, with the sixth sense identified with the heart, the study will apply to Gerson’s texts various theoretical approaches to humour, such as the perceived superiority model and the incongruity-resolution theory, as well as Mikhail Bakhtin’s concept of grotesque realism.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"1-20"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678897","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}
This article explores the seemingly mixed messages in the Antwerp playwright Willem van Haecht’s Oordeel van Tmolus (Tmolus’ Verdict), based on Ovid’s tale of the metamorphosis of King Midas’ ears. Performed on the first evening of the 1561 Rederijkers’ theater competition in Antwerp, its first act reflects a call for ‘apollonian’ aesthetics and a rejection of the genre of farce. The second act, however, seems to undermine this artistic stance. As this article clarifies, Van Haecht’s dramatization of the aftermath of the metamorphosis, in which a barber discovers Midas’ ears, testifies to the playwright’s skillful mastery of ‘dionysian’ farce techniques.
{"title":"Apollo, Apollo!: An Ambiguous Call for Sophistication in Antwerp, 1561","authors":"Femke Kramer","doi":"10.1484/J.EMD.5.114448","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114448","url":null,"abstract":"This article explores the seemingly mixed messages in the Antwerp playwright Willem van Haecht’s Oordeel van Tmolus (Tmolus’ Verdict), based on Ovid’s tale of the metamorphosis of King Midas’ ears. Performed on the first evening of the 1561 Rederijkers’ theater competition in Antwerp, its first act reflects a call for ‘apollonian’ aesthetics and a rejection of the genre of farce. The second act, however, seems to undermine this artistic stance. As this article clarifies, Van Haecht’s dramatization of the aftermath of the metamorphosis, in which a barber discovers Midas’ ears, testifies to the playwright’s skillful mastery of ‘dionysian’ farce techniques.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"54 1","pages":"21-50"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678956","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}
Ernst Kantorowicz plausibly claimed that Charlemagne’s triumphal entry into Rome in 774 recalled Christ’s entry into Jerusalem. Kantorowicz further claimed that Charlemagne’s evocation of the language and iconography of Palm Sunday not only ‘remained authoritative for all imperial receptions in Rome during the Middle Ages’, but also set a precedent for all medieval royal entries. This article challenges the latter claim, until now widely accepted and uncritically repeated. While there is reliable evidence of emperors and kings taking part in Palm Sunday processions, even in two cases as corpses, there is little or no evidence that medieval royal entries routinely appropriated the language and iconography of Palm Sunday for their own celebrations of power and military triumph.
{"title":"Charlemagne, Triumphal Entries, and Palm Sunday Processions: How Wrong Was Kantorowicz?","authors":"M. Harris","doi":"10.1484/J.EMD.5.114450","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114450","url":null,"abstract":"Ernst Kantorowicz plausibly claimed that Charlemagne’s triumphal entry into Rome in 774 recalled Christ’s entry into Jerusalem. Kantorowicz further claimed that Charlemagne’s evocation of the language and iconography of Palm Sunday not only ‘remained authoritative for all imperial receptions in Rome during the Middle Ages’, but also set a precedent for all medieval royal entries. This article challenges the latter claim, until now widely accepted and uncritically repeated. While there is reliable evidence of emperors and kings taking part in Palm Sunday processions, even in two cases as corpses, there is little or no evidence that medieval royal entries routinely appropriated the language and iconography of Palm Sunday for their own celebrations of power and military triumph.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"83-103"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.114450","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679012","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}
{"title":"Les pères du théâtre médiéval. Examen critique de la constitution d’un savoir académique (Sous la direction de Marie Bouhaïk-Gironès, Véronique Dominguez et Jelle Koopmans)","authors":"Klementyna Aura Glińska","doi":"10.1484/J.EMD.5.114455","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114455","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"203-207"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678647","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}
The medieval Antichrist plays are considered as politically disinterested. But this opinion is a result of an ahistorical retrospective, which classifies the medieval plays against the backdrop of the reformatory Antichrist plays, where the political dimension is blatantly obvious with the identification of the pope with the Antichrist. Indeed, the medieval Antichrist plays eschew this bold and simple way of articulating a political opinion - but they are not at all politically neutral. The German Antichrist plays, in particular, focus on the relationship between Antichrist, emperor and empire. They follow the ambivalent picture of the empire which is drawn by the apocalyptic books and passages of the Bible and show us a differentiated political awareness rather than the bold antipapal statements of the reformatory Antichrist plays.
{"title":"Kaiser, Reich und Antichrist: Die politische Dimension der deutschsprachigen vorreformatorischen Antichristspiele","authors":"S. Wagner","doi":"10.1484/J.EMD.5.114449","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114449","url":null,"abstract":"The medieval Antichrist plays are considered as politically disinterested. But this opinion is a result of an ahistorical retrospective, which classifies the medieval plays against the backdrop of the reformatory Antichrist plays, where the political dimension is blatantly obvious with the identification of the pope with the Antichrist. Indeed, the medieval Antichrist plays eschew this bold and simple way of articulating a political opinion - but they are not at all politically neutral. The German Antichrist plays, in particular, focus on the relationship between Antichrist, emperor and empire. They follow the ambivalent picture of the empire which is drawn by the apocalyptic books and passages of the Bible and show us a differentiated political awareness rather than the bold antipapal statements of the reformatory Antichrist plays.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"51-81"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678969","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}
According to medieval religious tradition, dances are judged as sinful or even linked to mortal sins if they are performed at the wrong time, by the wrong persons, or for evil purposes. This also means that literature or art could use dances to stress evil purposes, poor timing, or sinful personnel. This paper analyses some German religious plays featuring the wise and foolish virgins that use dances as a means to stress the wrong attitude of the foolish virgins: The Thuringer Zehnjungfrauenspiele stress the unprepared state of the virgins, who have a wrong understanding of time, which leads them to a sinful life. In the contrary, the 15th cent. Marburger Weltgerichtsspiel depicts the virgin’s intention to set up their own rules against God’s order, and the vain attempt to flee from death.
{"title":"Wer nicht tanzt zur rechten Zeit: Tanzdarstellungen in deutschen Zehnjungfrauenspielen","authors":"Cora Dietl","doi":"10.1484/J.EMD.5.114452","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114452","url":null,"abstract":"According to medieval religious tradition, dances are judged as sinful or even linked to mortal sins if they are performed at the wrong time, by the wrong persons, or for evil purposes. This also means that literature or art could use dances to stress evil purposes, poor timing, or sinful personnel. This paper analyses some German religious plays featuring the wise and foolish virgins that use dances as a means to stress the wrong attitude of the foolish virgins: The Thuringer Zehnjungfrauenspiele stress the unprepared state of the virgins, who have a wrong understanding of time, which leads them to a sinful life. In the contrary, the 15th cent. Marburger Weltgerichtsspiel depicts the virgin’s intention to set up their own rules against God’s order, and the vain attempt to flee from death.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"141-162"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678579","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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