Scribd
Upload
896 views28 pages

Medieval Theatre

Medieval theatre developed from religious rituals in the Roman Catholic Church between the 5th and 16th centuries. Plays began as short liturgical dramas performed in Latin on religious holidays, and later expanded into vernacular language mystery, miracle, and morality plays performed by guilds and amateur actors. Popular cycles depicted biblical stories, saints' lives, and allegories about living a Christian life. Plays were performed on pageant wagons or stationary platforms in town squares.

Uploaded by

Angelly V Velasco
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPT, PDF, TXT or read online on Scribd
896 views28 pages

Medieval Theatre

Medieval theatre developed from religious rituals in the Roman Catholic Church between the 5th and 16th centuries. Plays began as short liturgical dramas performed in Latin on religious holidays, and later expanded into vernacular language mystery, miracle, and morality plays performed by guilds and amateur actors. Popular cycles depicted biblical stories, saints' lives, and allegories about living a Christian life. Plays were performed on pageant wagons or stationary platforms in town squares.

Uploaded by

Angelly V Velasco
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPT, PDF, TXT or read online on Scribd
You are on page 1/ 28

Medieval Theatre

Medieval Theatre
Time frame: 5th c- mid 16th c
Secular theatre died in Western Europe
with the fall of Rome
Theatrical performances were banned by
the Roman Catholic Church as barbaric and
pagan
Most Roman theatre had been spectacle
rather than literary drama
Roman Literary Drama

2nd c. bc - 4th c. ce
Origins in Greek drama and Roman
festivals
Tragedy: Seneca
Comedy:Terence and Plautus
Roman Spectacle
Gladiatorial combats
Naval battles in a flooded Coliseum
Real-life theatricals
Decadent, violent and immoral
All theatrical events were banned by the
Church when Rome became Christianized
Byzantine Theatre
The Eastern Roman Empire (Byzantium)
with its capitol at Constantinople (todays
Istanbul) flourished until 1453.
The Byzantines kept Greek and Roman
theatrical pieces alive and saved
manuscripts and records of Classical
playwrights.
Drama in the Early Middle Ages
500-1000
Small groups of traveling performers
minstrels, jugglers, acrobats, bards, mimes,
puppeteers -- went from town to town
entertaining.
They performed in taverns and at festivals for
the commoners and at court for the nobility
Festivals usually contained both pagan and
Christian elements ( e.g. Halloween and
Christmas celebrations )
Hrotsvit of aka Roswitha, Hrotswitha,
Hrotsvita
Gandersheim Canoness at the convent of
935-1000 Gandersheim in Germany
One of the earliest European
playwrights
Her 6 plays, written in Latin, are
based on Roman comedies by
Terence, but focus on female
characters in situations that test
their devotion to Christian
virtues.
Her intention was to revise the
negative portrayals of women
that she found in his comedies.
Liturgical Drama

The Roman Catholic Church was responsible for


the rebirth of European theatre in the 10th 12th
century
All Europe had been converted to Christianity
The Church needed ways to teach illiterate
parishioners: cathedrals, stained glass windows,
sculpture, painting and drama
Liturgical Drama
Religious rituals ( the mass, baptism, etc.)
embody theatrical elements.
Priests began to incorporate such elements
into the gospel lessons of the mass.
The first short plays were called tropes
Written in Latin, these tropes were
performed by the clergy during the mass.
Quem Quaeritis Trope
Whom do you seek?

Easter gospel lesson: the 3 Marys come to the tomb


of Christ seeking to annoint his body and are greeted
by an angel
Text in Latin from the Regularis Concordia of
Ethelwold, Bishop of Winchester, ca. 967-75.
Quem Quaeritis Trope
When the third lesson of the matins is chanted, let four brethren
[monks] dress themselves; of whom let one, wearing an alb, enter
as if to take part in the service; and let him without being
observed approach the place of the sepulcher, where, holding a
palm in his hand, let him sit quietly. Set and costumes
While the third responsory is being sung, let the remaining three
brethren follow, all of them wearing copes and carrying censors
filled with incense. Then slowly, in the manner of seeking
something, let them move toward the place of the sepulcher.
These things are to be performed in imitation of the Angel seated
in the tomb, and of the women coming with spices to anoint the
body of Jesus. When therefore the seated angel shall see the three
women, as if straying about and looking for something, approach
him, let him begin to sing in a dulcet voice of medium pitch:
Stage directions
Whom seek ye in the sepulcher, O followers of Christ?
When he has sung this to the end, let the three respond in unison:
Jesus of Nazareth, who was crucified, O celestial one.
To whom that one: He is not here; he is risen, just as he foretold.
Go, announce that he is risen from the dead.
At the word of this command, let the three turn to the choir, and say:
Alleluia! The Lord is risen today,
The strong lion, the Christ, the Son of God.
Give thanks to God, eia! hurrah! Dialogue

This said, let the Angel, again seating himself, as if recalling them,
sing the anthem
Venite, et Videte locum-- Music
Come, and see the place where the Lord was lad. Alleluia! Alleluia!
And saying this, let him rise, and let him lift the veil and show them the
place bare of the cross, but only the cloths lying there with which the
cross was wrapped. Seeing this, let the women set down the censers they
carried into the sepulcher, and let them pick up the cloth and spread it out
before the eyes of the clergy; and, as if making known that the Lord had
risen and was not now wrapped in this linen, Stage directions
let them sing this anthem
Surrexit Dominus de Sepulchro--
The Lord is risen from the sepulcher,
Who for us hung on the cross. Music
And let them place the cloth upon the altar. The anthem being ended, let
the Prior, rejoicing with them at the triumph of our king, in that having
conquered death, he arose, begin the hymn:
Te, Deum, laudamus--
We Praise thee, O God.
Religious Vernacular Drama

Vernacular: language spoken by the people


To reach the commoners, the clergy began to translate the
liturgical plays into vernacular languages
As the plays became more elaborate, they were moved from
the altar of the church to the church yard.
As more roles were added, commoners were used as
amateur actors
The 3 Ms of Religious
Vernacular Drama
Mystery plays: Biblical stories

Miracle plays: saints lives

Morality plays: allegories


Mystery Plays
Mystery: from French mystere -- secret. The term could
refer to Biblical truths or to the secrets of the crafts held by
the guilds who were responsible for producing the plays.
In England, these Biblical plays were produced in cycles: a
series of plays depicting Biblical history from the Creation
to the Last Judgement. Also known as Cycle Plays.
The cycles were usually performed at the religious festival
of Corpus Christi -- in the spring or early summer.
Mystery Plays performed by Trade Guilds

While the plays were written by the clergy and overseen by


the Church, the performances were produced by the guilds
of each town and mostly performed by amateur actors.
Productions were considered a religious duty, and each
guild invested considerable resources into productions.
Plays were often assigned to guilds associated with the
subject matter of the play and became a kind of
advertisement
The Flood: Shipbuilders or Barrelmakers
The Nativity: Shepherds
The Magi: Goldsmiths
English Cycle Plays
Each cathedral town had its own cycle:
York
Chester
Wakefield
N-town
The cycles were very popular amongst commoners and
nobility: records show that both Henry VIII and
Elizabeth I attended performances.
The Protestant Reformation brought a halt to the
presentation of cycle plays as they incorporated Roman
Catholic theology.
Modern
Productions
Chester Mystery
Plays

York Mystery
Plays

The Lichfield
Mysteries

B.J. Elvgren. Quilt: depicting scenes from Chesters 14th century dramas
set against modern city landmarks Chester Cathedral
Dramatic Techniques
English mystery plays incorporate a combination
of high seriousness and low comedy:
High seriousness: the Biblical stories of the Old
Testament and Jesus life and mission
Low comedy: the plays incorporate almost slapstick
sketches of contemporary medieval daily life.
The plays are set in contemporary settings with
recognizable contemporary characters: the truth of
the Biblical stories is timeless -- the divine truths
revealed in the Bible are still true today.
Miracle Plays
Miracle plays were similar to mystery plays in
dramatic techniques
Dramatized the lives of Roman Catholic saints
( in order to become a saint, a person had to
perform 3 documented miracles)
The most popular subjects were the Virgin Mary
(plays usually written in Latin), St. George
(dragon slayer and patron saint of England) and
St. Nicholas ( associated with Christmas
festivities)
Morality Plays
Theme: how to live a Christian life and be saved.
Allegory:
A story told on two levels: the literal and the the
symbolic
Plot: a journey through life or to death
Emphasis switches from Biblical and saintly
protagonists to the common man: Everyman,
Mankind
Focus on free will
First major use of professional acting companies
Staging the Plays
PROCESSIONAL STATIONARY
Pageant wagons would Mansions or a series of
travel a set route and stages would be set up
perform at several locations: around the town square
like a parade or Anchored at either end by
would be set up around a Heaven and Hell
town square and the Elaborate special effects
audience would travel from such as floods, flying and
one wagon to the next to see fiery pits were very popular
the performances
Dramatic Techniques
Theatre was performed in found spaces: town
squares, taverns, churches, banquet halls -- no
specifically designated theatres
Theatre was intimate -- audience interacted with
performers
Elaborate special effects
Characterization was often dependent upon
costume and makeup
Interludes and Farces
Combined elements of allegory, classical myth, and courtly
entertainment: music, dance, spectacle
Interludes were short plays performed between courses at
court banquets
Farces were longer plays ridiculing such human follies as
greed and dishonesty
As the mysteries, miracle and moralities were censored by
Protestant authorities, secular drama became more
important to all levels of society
Folk Plays
Often performed at such holidays as Christmas, New Year
and May Day
Incorporated remnants of pagan rituals
Mummers, Morris Dancers, etc.
Robin Hood
Feast of Fools: Fool companies consisted of . young men,
whose chief business was to play gross comedies and to
execute nonsensical and often ribald travesties on the
Mass. These boisterous "Feasts" antedate most of the
mysteries, and may have been reverent in their origin
Types of Medieval Drama
Performances by itinerant entertainers
Liturgical tropes: gospel dramatizations
Mystery plays: Biblical plays
Miracle plays: saints lives
Morality plays: allegories
Interludes and farces: secular plays
Folk plays: pagan and folklore elements

You might also like