From the middle of the seventeenth century, the cult of St Francis Xavier flourished in the south of the German-speaking area. Since he was the first person who engaged in missionary work in the East India, the Jesuits in this area praised him not only in printed literature and pictures, but also in drama, and promoted the world mission. Xavier was also well-known for his ‘love of God’. Thus, many Jesuit dramas on Xavier dramatized Xavier’s prayer linked to the love of God or depicted the interior development of Xavier led by the love of God. A major element of these dramas focused on the education of the boys at the Jesuit school, who were expected to become good followers of Xavier.
{"title":"Francis Xavier and Amor Dei in Jesuit Drama in the South of the German-Speaking Area","authors":"Haruka Oba","doi":"10.1484/J.EMD.5.110509","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110509","url":null,"abstract":"From the middle of the seventeenth century, the cult of St Francis Xavier flourished in the south of the German-speaking area. Since he was the first person who engaged in missionary work in the East India, the Jesuits in this area praised him not only in printed literature and pictures, but also in drama, and promoted the world mission. Xavier was also well-known for his ‘love of God’. Thus, many Jesuit dramas on Xavier dramatized Xavier’s prayer linked to the love of God or depicted the interior development of Xavier led by the love of God. A major element of these dramas focused on the education of the boys at the Jesuit school, who were expected to become good followers of Xavier.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"18 1","pages":"129-157"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678326","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}
In 1558, Hans Sachs designed a new saint for a martyrs’ play: St Pura, and her companion, St Gottfried. The plot of the tragedy, however, was not completey new: on the contrary, Sachs adapted Ambrose’s legend of the virgin of Antioch. By attributing names to all figures in the legend, Sachs gives it a new interpretation: It is now a tale of pure Lutheran faith, calling on the audience to preserve the new religion.
{"title":"Eine neue Heilige des Protestantismus: Die Pura-Tragödie des Hans Sachs","authors":"Cora Dietl","doi":"10.1484/J.EMD.5.110508","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110508","url":null,"abstract":"In 1558, Hans Sachs designed a new saint for a martyrs’ play: St Pura, and her companion, St Gottfried. The plot of the tragedy, however, was not completey new: on the contrary, Sachs adapted Ambrose’s legend of the virgin of Antioch. By attributing names to all figures in the legend, Sachs gives it a new interpretation: It is now a tale of pure Lutheran faith, calling on the audience to preserve the new religion.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"18 1","pages":"111-128"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110508","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678277","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}
Based on Hansjurgen Linke’s study about the history of the reception of religious and secular medieval plays in twentieth-century Germany, the paper examines the respective situation in Switzerland. It focusses on the Bruderklausenspiel (1929), written and staged by Oskar Eberle. The director and scholar Oskar Eberle, and the Schweizerische Gesellschaft fur Theaterkultur (SGTK) were the most influential supporters of the reception of religious plays in twentieth-century Switzerland. While in Germany the revival of medieval theatre emphasized a Renaissance of a former national importance, in Switzerland, the situation was very different. The revival of religious plays had a certain confessional background, and the political idea was to strengthen national self-confidence, and to confirm the nation’s historical neutrality concerning foreign affairs.
{"title":"Heiligenspielrezeption in der Schweiz 1929: Das Bruderklausenspiel von Oskar Eberle","authors":"Simone Gfeller","doi":"10.1484/J.EMD.5.110510","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110510","url":null,"abstract":"Based on Hansjurgen Linke’s study about the history of the reception of religious and secular medieval plays in twentieth-century Germany, the paper examines the respective situation in Switzerland. It focusses on the Bruderklausenspiel (1929), written and staged by Oskar Eberle. The director and scholar Oskar Eberle, and the Schweizerische Gesellschaft fur Theaterkultur (SGTK) were the most influential supporters of the reception of religious plays in twentieth-century Switzerland. While in Germany the revival of medieval theatre emphasized a Renaissance of a former national importance, in Switzerland, the situation was very different. The revival of religious plays had a certain confessional background, and the political idea was to strengthen national self-confidence, and to confirm the nation’s historical neutrality concerning foreign affairs.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"18 1","pages":"159-173"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110510","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678341","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}
One of the characteristic features that reveal the new spiritual state of the shepherds in medieval Nativity plays is that they are able to envisage the coming of Christ in the light of Old Testament prophecies. A contemporary reader or spectator must have found such prophetic announcements rather surprising, particularly because they are spoken by rustic characters. This article analyzes this religious renewal in a series of English and Castilian plays in the light of the liturgical texts set aside for Advent and Christmastide. This religious renewal is clearly evident when the rustics recite a comprehensive account of messianic prophecies after the Annunciation. It is the purpose of this work to study the characters’ emphasis on prophecy and typology as well as their previous behaviour and practices, which seem to be is incongruous with such a learned attitude, although they lend themselves to a liturgical interpretation.
{"title":"Shepherds’ and Advent Fast: Liturgical Renewal in English and Castilian Pastoral Drama of the Late Middle Ages","authors":"Vicente Chacón-Carmona","doi":"10.1484/J.EMD.5.110130","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110130","url":null,"abstract":"One of the characteristic features that reveal the new spiritual state of the shepherds in medieval Nativity plays is that they are able to envisage the coming of Christ in the light of Old Testament prophecies. A contemporary reader or spectator must have found such prophetic announcements rather surprising, particularly because they are spoken by rustic characters. This article analyzes this religious renewal in a series of English and Castilian plays in the light of the liturgical texts set aside for Advent and Christmastide. This religious renewal is clearly evident when the rustics recite a comprehensive account of messianic prophecies after the Annunciation. It is the purpose of this work to study the characters’ emphasis on prophecy and typology as well as their previous behaviour and practices, which seem to be is incongruous with such a learned attitude, although they lend themselves to a liturgical interpretation.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"17 1","pages":"1-42"},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110130","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678189","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 contribution investigates how the Reformation changed Joseph’s masculinity in the context of Nativity plays. In the Hessian Nativity play of the late fifteenth century, Joseph is marginalized as a man and saint. Even if his behaviour is understandable from the religious point of view, it is strange from the patriarchal perspective. When Joseph cradles the Child, his position becomes so precarious that he is beaten by two maidservants. In the Lutheran Christmas play of 1541, on the other hand, Joseph personifies the ideal of a Protestant housefather. Heinrich Knaust staged Joseph as a deputy of God who is assigned the responsibility for his family and permitted to exercise authority. Rather than being subjected to laughter, the Joseph of the Reformation is intended to arouse admiration and inspire emulation.
{"title":"Vom marginalisierten Heiligen zum hegemonialen Hausvater: Josephs Männlichkeit im Hessischen und in Heinrich Knausts Weihnachtsspiel","authors":"Regina Toepfer","doi":"10.1484/J.EMD.5.110131","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110131","url":null,"abstract":"This contribution investigates how the Reformation changed Joseph’s masculinity in the context of Nativity plays. In the Hessian Nativity play of the late fifteenth century, Joseph is marginalized as a man and saint. Even if his behaviour is understandable from the religious point of view, it is strange from the patriarchal perspective. When Joseph cradles the Child, his position becomes so precarious that he is beaten by two maidservants. In the Lutheran Christmas play of 1541, on the other hand, Joseph personifies the ideal of a Protestant housefather. Heinrich Knaust staged Joseph as a deputy of God who is assigned the responsibility for his family and permitted to exercise authority. Rather than being subjected to laughter, the Joseph of the Reformation is intended to arouse admiration and inspire emulation.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"17 1","pages":"43-68"},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110131","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678253","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 symbol of the Holy Cross is pivotal to Christendom, and it is central to several medieval and early modern plays covering Constantine’s victory and the finding of the cross by Helena. In the period of Counter-Reformation, these subjects provide examples of Roman Catholic beliefs, referring to relics and miracles, and thus hold propagandistic potential. Their staging allows not only for an authoritative expression of denominational convictions, but also includes a model of government that may, by conveying an ideal of social order, even fulfil a disciplining and critical function. Two plays will serve to illustrate these intentions: Cysat’s Holy Cross Play and the Jesuit drama Constantinus Magnus.
{"title":"Das Heiligkreuz-Sujet und die Organisation des weltlichen Zusammenlebens im Medium städtischer und jesuitischer Spiele","authors":"Angelika Kemper","doi":"10.1484/J.EMD.5.110133","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110133","url":null,"abstract":"The symbol of the Holy Cross is pivotal to Christendom, and it is central to several medieval and early modern plays covering Constantine’s victory and the finding of the cross by Helena. In the period of Counter-Reformation, these subjects provide examples of Roman Catholic beliefs, referring to relics and miracles, and thus hold propagandistic potential. Their staging allows not only for an authoritative expression of denominational convictions, but also includes a model of government that may, by conveying an ideal of social order, even fulfil a disciplining and critical function. Two plays will serve to illustrate these intentions: Cysat’s Holy Cross Play and the Jesuit drama Constantinus Magnus.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"17 1","pages":"95-116"},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678261","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 examines Sarah Ruhl’s Passion Play: A Cycle and one of Tennessee Williams’ lesser known dramas, Orpheus Descending, in two productions at Arena Stage in Washington, D.C., USA. Both represent very different attempts at dramatizing modern themes through medieval motifs and narratives. Passion Play: A Cycle is very much a play about acting, simulating and pretending, of illusions, loss of reality and the abilities of political leaders to use religion for their purposes. As such, it assumes a very important function which medieval dramas also performed: that of being a medium for reflecting contemporary political questions. In Orpheus Descending, on the other hand, the character of Val is shaped according to the model of a medieval saint. The identity of a saint serves as a necessary counter-component to the character, who otherwise would have been nothing more than another Elvis-like rebel without a cause.
{"title":"Das Heilige in der Neuen Welt: Sarah Ruhls Passion Play: A Cycle und Tennessee Williams’ Orpheus Descending","authors":"Jutta Eming","doi":"10.1484/J.EMD.5.110134","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110134","url":null,"abstract":"This article examines Sarah Ruhl’s Passion Play: A Cycle and one of Tennessee Williams’ lesser known dramas, Orpheus Descending, in two productions at Arena Stage in Washington, D.C., USA. Both represent very different attempts at dramatizing modern themes through medieval motifs and narratives. Passion Play: A Cycle is very much a play about acting, simulating and pretending, of illusions, loss of reality and the abilities of political leaders to use religion for their purposes. As such, it assumes a very important function which medieval dramas also performed: that of being a medium for reflecting contemporary political questions. In Orpheus Descending, on the other hand, the character of Val is shaped according to the model of a medieval saint. The identity of a saint serves as a necessary counter-component to the character, who otherwise would have been nothing more than another Elvis-like rebel without a cause.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"17 1","pages":"117-139"},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110134","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678271","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":"‘This Earthly Stage’: World and Stage in Late Medieval and Early Modern England, ed. by Brett D. Hirsch and Christopher Wortham","authors":"L. Stelling","doi":"10.1484/J.EMD.5.103768","DOIUrl":"https://doi.org/10.1484/J.EMD.5.103768","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"16 1","pages":"134-139"},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.103768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678137","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 discusses the medieval theatrical genre known as the jeu. The term jeu has a broad definition and encompasses texts with a wide dramaturgic diversity and different connotations. Plays included in this genre thus show significant stylistic variety and are often interlaced with other genres. However, there are also key similarities that draw these different plays together, not least in terms of their common sense of alterity and detachment.
{"title":"La formation du jeu, entre culture de l’altérité et carnavalisation du discours","authors":"Tiziano Pacchiarotti","doi":"10.1484/J.EMD.5.103758","DOIUrl":"https://doi.org/10.1484/J.EMD.5.103758","url":null,"abstract":"This paper discusses the medieval theatrical genre known as the jeu. The term jeu has a broad definition and encompasses texts with a wide dramaturgic diversity and different connotations. Plays included in this genre thus show significant stylistic variety and are often interlaced with other genres. However, there are also key similarities that draw these different plays together, not least in terms of their common sense of alterity and detachment.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"16 1","pages":"19-32"},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.103758","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678230","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}
While mystery plays recalling the Assumption of Mary were commonplace throughout medieval Europe, they appear to have been far less usual in a Russian context, where such plays were frowned on by the Orthodox religion. It is therefore surprising that a Russian play of this sort survives, one produced in the seventeenth century by a high-ranking cleric, the Metropolitan Dimitri of Rostov. This article explores Dimitri of Rostov’s work by comparing it to a well-known mystery play from Elx (Elche) in Spain, written in the fifteenth-century (or possibly even earlier), examining the source material underpinning these two different plays and the ways in which the mystery genre appears to have diverged between Western Europe and Russia.
{"title":"Misteri d’Elx et Mystère de la Dormition de la Mère de Dieu de Dimitri de Rostov: Entre représentation et présentation","authors":"Tatiana Victoroff","doi":"10.1484/J.EMD.5.103764","DOIUrl":"https://doi.org/10.1484/J.EMD.5.103764","url":null,"abstract":"While mystery plays recalling the Assumption of Mary were commonplace throughout medieval Europe, they appear to have been far less usual in a Russian context, where such plays were frowned on by the Orthodox religion. It is therefore surprising that a Russian play of this sort survives, one produced in the seventeenth century by a high-ranking cleric, the Metropolitan Dimitri of Rostov. This article explores Dimitri of Rostov’s work by comparing it to a well-known mystery play from Elx (Elche) in Spain, written in the fifteenth-century (or possibly even earlier), examining the source material underpinning these two different plays and the ways in which the mystery genre appears to have diverged between Western Europe and Russia.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"16 1","pages":"115-122"},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.103764","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678472","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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