| Description |
The study of ‘medieval drama’ is dominated by the scriptural mystery cycles. While these plays sought to teach about scripture and salvation, they were not drily didactic teaching tools but were full of humour, humanity, and spectacle. Medieval literary theories connected enjoyment and learning, so it is possible that the comedy was the sugar to help the educational medicine go down: however, modern revivals of medieval plays have repeatedly demonstrated that their human power is far more than a sweetener, and in the twentieth century scholars applied theories of carnival to demonstrate medieval theatre’s potential to be politically and socially subversive. Theatrically they are highly innovative, particularly in their self-conscious exploration of the nature of performance and the relationship between actors and audiences. This course will comprise in-depth study of the plays of the York Cycle, the most complete of the collections of scriptural plays which survives, and also that for which we have most evidence as to the practicalities of performance. The plays will be considered as scripts for performance, as vehicles for political polemic, and as part of a verbal and visual culture by which the medieval world explored its relationship with the divine. 18.2 Introduction to Cycle drama
25.2 Ordo Paginarum
3.3 The Creation of the World, the Fall of the Angels
10.3 The Creation of Man, the Fall of Man
17.3 Joseph’s Trouble about Mary
24.3 The Nativity; The Shepherds
31.3 The Flight into Egypt: the Entry into Jerusalem
7.4 The Conspiracy; Christ Before Annas and Caiaphas
21.4 Christ before Herod, Christ before Pilate II, the Judgment
28.4 The Crucifixion; The Death and Burial
5.5 The Harrowing of Hell
12.5 The Resurrection
19.5 The Last Judgment
26.5 EXAM |