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Essays on aspects of early drama, including in this volume a focus
on the Towneley plays. Editors: Sarah Carpenter, Pamela M. King,
Meg Twycross, Greg Walker. Medieval English Theatre is the premier
journal in early theatre studies. Its name belies its wide range of
interest: it publishes articles on theatreand pageantry from across
the British Isles up to the opening of the London playhouses and
the suppression of the civic mystery cycles, and also includes
contributions on European and Latin drama, together with analyses
of modernsurvivals or equivalents, and of research productions of
medieval plays. This volume includes essays on spectatorship,
audience reception and records of early drama, especially in
Scotland, besides engaging with the current interest in the
Towneley Plays and the history of its manuscript.
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Medieval English Theatre 44
Meg Twycross, Sarah Carpenter, Elisabeth Dutton, Gordon Kipling; Contributions by Elisabeth Dutton, …
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R1,057
Discovery Miles 10 570
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Ships in 12 - 17 working days
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Newest research into drama and performance of the Middle Ages and
Tudor period. Medieval English Theatre is the premier journal in
early theatre studies. Its name belies its wide range of interest:
it publishes articles on theatre and pageantry from across the
British Isles up to the opening of the London playhouses and the
suppression of the civic religious plays , and also includes
contributions on European and Latin drama, together with analyses
of modern survivals or equivalents, and of research productions of
medieval plays. The papers in this volume explore richly
interlocking topics. Themes of royalty and play continue from
Volume 43. We have the first in-depth examination of the employment
of the now-famous Black Tudor trumpeter, John Blanke, at the royal
courts of Henry VII and Henry VIII. An entertaining survey of the
popular European game of blanket-tossing accompanies the
translation of a raucous, sophisticated, but surprisingly humane
Dutch rederijkers farce. The Towneley plays remain fertile ground
for further research, and this blanket-tossing farce illuminates a
key scene of the well-known Second Shepherd's Play. New exploration
of a colloquial reference to 'Stafford Blue' in another Towneley
pageant, Noah, not only enlivens the play's social context but
contributes to important current re-thinking of the manuscript's
date. Two papers bring home the theatrical potential of food and
eating. We learn how the Tudor interlude Jacob and Esau dramatises
the preparation and provision of food from the Genesis story.
Serving and eating meals becomes a means of social, theological,
and theatrical manipulation. Contrastingly, in the N. Town Last
Supper play and a French convent drama, we see how the bread of
Passover, the Last Supper, and the Mass could be evoked, layered
and shared in performance. In both these plays the audiences'
experiences of theatre and of communion overlap and inform each
other.
Collected Studies CS 1068 The essays selected for this volume are
chosen to reflect the important and intersecting ways in which over
the last forty years Meg Twycross has shifted paradigms for people
reading early English religious drama. The focus of Meg Twycross's
research has been on performance in its many aspects, and this
volume chooses four of the most important strands of her work - the
York plays; new ways of understanding acting and performance in
late medieval theatre, particularly in Britain and across Europe;
why scenes are staged in the ways they are, verbally and by
extrapolation visually, by close reading of texts against the
background of medieval theology; and the attention paid to wider
contexts of medieval theatre - concentrating especially on essays
that are not easily available today. These thematic strands are
reflective of Meg Twycross's major contribution to the field. They
also represent those areas from her wider work which will have most
utility and value for those, whether students or senior specialists
in areas beyond early drama, who are looking for ways into
understanding English medieval plays. The crucial work that has
been done here has opened new perspectives on late medieval
theatre, and will allow new generations to begin their study and
research from further along the road.
Collected Studies CS 1068 The essays selected for this volume are
chosen to reflect the important and intersecting ways in which over
the last forty years Meg Twycross has shifted paradigms for people
reading early English religious drama. The focus of Meg Twycross's
research has been on performance in its many aspects, and this
volume chooses four of the most important strands of her work - the
York plays; new ways of understanding acting and performance in
late medieval theatre, particularly in Britain and across Europe;
why scenes are staged in the ways they are, verbally and by
extrapolation visually, by close reading of texts against the
background of medieval theology; and the attention paid to wider
contexts of medieval theatre - concentrating especially on essays
that are not easily available today. These thematic strands are
reflective of Meg Twycross's major contribution to the field. They
also represent those areas from her wider work which will have most
utility and value for those, whether students or senior specialists
in areas beyond early drama, who are looking for ways into
understanding English medieval plays. The crucial work that has
been done here has opened new perspectives on late medieval
theatre, and will allow new generations to begin their study and
research from further along the road.
Drawing on broad research, this study explores the different social
and theatrical masking activities in England during the Middle Ages
and the early 16th century. The authors present a coherent
explanation of the many functions of masking, emphasizing the
important links among festive practice, specialized ceremonial, and
drama. They elucidate the intellectual, moral and social contexts
for masking, and they examine the purposes and rewards for
participants in the activity. The authors' insight into the masking
games and performances of England's medieval and early Tudor
periods illuminates many aspects of the thinking and culture of the
times: issues of identity and community; performance and role-play;
conceptions of the psyche and of the individual's position in
social and spiritual structures. Masks and Masking in Medieval and
Early Tudor England presents a broad overview of masking practices,
demonstrating how active and prominent an element of medieval and
pre-modern culture masking was. It has obvious interest for drama
and literature critics of the medieval and early modern periods;
but is also useful for historians of culture, theatre and
anthropology. Through its analysis of masked play this study
engages both with the history of theatre and performance, and with
broader cultural and historical questions of social organization,
identity and the self, the performance of power, and shifting
spiritual understanding.
Drawing on broad research, this study explores the different social
and theatrical masking activities in England during the Middle Ages
and the early 16th century. The authors present a coherent
explanation of the many functions of masking, emphasizing the
important links among festive practice, specialized ceremonial, and
drama. They elucidate the intellectual, moral and social contexts
for masking, and they examine the purposes and rewards for
participants in the activity. The authors' insight into the masking
games and performances of England's medieval and early Tudor
periods illuminates many aspects of the thinking and culture of the
times: issues of identity and community; performance and role-play;
conceptions of the psyche and of the individual's position in
social and spiritual structures. Masks and Masking in Medieval and
Early Tudor England presents a broad overview of masking practices,
demonstrating how active and prominent an element of medieval and
pre-modern culture masking was. It has obvious interest for drama
and literature critics of the medieval and early modern periods;
but is also useful for historians of culture, theatre and
anthropology. Through its analysis of masked play this study
engages both with the history of theatre and performance, and with
broader cultural and historical questions of social organization,
identity and the self, the performance of power, and shifting
spiritual understanding.
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Medieval English Theatre 43 (Paperback)
Meg Twycross, Sarah Carpenter, Elisabeth Dutton, Gordon L. Kipling; Contributions by Meg Twycross, …
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R1,076
Discovery Miles 10 760
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Ships in 12 - 17 working days
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The ludic element of drama in the Middle Ages - or drama with early
subject matter - is here to the fore. Medieval English Theatre is
the premier journal in early theatre studies. Its name belies its
wide range of interest: it publishes articles on theatre and
pageantry from across the British Isles up to the opening of the
London playhouses and the suppression of the civic mystery cycles,
and also includes contributions on European and Latin drama,
together with analyses of modern survivals or equivalents, and of
research productions of medieval plays. This edition combines,
perhaps unexpectedly, royalty and games. Games of all kinds, from
jousting and "Christmas games" to those usually associated with
children, are shown, it is suggested, to be more than they at first
appear. Apparently run-of-the-mill entertainments, when presented
to the court by the Londoners, by the court to a visiting emperor ,
or by the retainers of royalty and nobility to the general public
for commercial gain, turn out to have unexpected political
resonances; while the potential underlying sadism of children's
games gains a horrific immediacy when diverted to the torturing of
Christ. Even today, the musical SIX says a great deal more about
royalty and role-playing than initially might appear, especially
when set against eye-witness accounts of the first meeting of Anna
of Cleves with Henry VIII, and what modern novelists have made of
it . In the process we learn a great deal more about the detail of
these games, from the maskerie costumes of James VI and Anna of
Denmark to the elaborate fantasy challenges of the jousters in
1400/1401, which incidentally suggest that fourteenth-century court
culture, whose language was Anglo-French, is a major missing link
in the history of what is usually treated as purely English
literature. Contributors: Philip Bennett, Philip Butterworth, Sarah
Carpenter, Elisabeth Dutton, James Forse, Gordon Kipling, Michael
Pearce, Meg Twycross.
Newest research into drama and performance of the middle ages.
Medieval English Theatre is the premier journal in early theatre
studies. Its name belies its wide range of interest: it publishes
articles on theatre and pageantry from across the British Isles up
to the opening of the London playhouses and the suppression of the
civic mystery cycles, and also includes contributions on European
and Latin drama, together with analyses of modern survivals or
equivalents, and of research productions of medieval plays. This
volume features essays on stagecraft, performance, and reception
across a wide range of theatrical genres. Overlapping themes
include a return to the York Corpus Christi Play, the
practicalities of pageant waggon construction and maintenance,
mechanical stage effects, international influences, East Anglian
theatre and "folk" happenings, academic Latin drama, and private
gentry festivities. Contributors include Jamie Beckett, Phil
Butterworth, Peter Happe, James McBain, Tom Pettitt, James Stokes,
and Diana Wyatt.
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Medieval English Theatre 41 (Paperback)
Sarah Carpenter, Elisabeth Dutton, Meg Twycross, Gordon L. Kipling; Contributions by Meg Twycross, …
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R1,073
Discovery Miles 10 730
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Ships in 12 - 17 working days
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Essays on the performance of drama from the middle ages, ranging
from the well-known cycles of York to matter from Iran. Medieval
English Theatre is the premier journal in early theatre studies.
Its name belies its wide range of interest: it publishes articles
on theatre and pageantry from across the British Isles up to the
opening of the London playhouses and the suppression of the civic
mystery cycles, and also includes contributions on European and
Latin drama, together with analyses of modern survivals or
equivalents, and of research productions of medieval plays. The
articles here focus on civic theatre and display. Chester, York,
Durham and Newcastle, and London. Practicalities are to the fore:
what the Drawers of Dee actually did, how the actors in the York
Corpus Christi Play knewwhat time it was, the difficulties
presented to London pageantry by unauthorised house-extensions and
horse-droppings. Even the stately entertainments of a royal tour by
James VI & I featured (in Newcastle, of course) negotiationover
the monopoly on coal disguised as a historical event in a play
about King Alfred and Canute. Ranging further afield is an
introduction to the living tradition of Iranian mystery plays,
whose history and development have somethought-provoking parallels
with those of medieval waggon plays in the West. Finally, the
director and producer discuss their 2019 production of John
Redford's Wit and Science by Edward's Boys, the first to be played
by aboys' company since the sixteenth century.
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Medieval English Theatre 40 (Paperback)
Sarah Carpenter, Elisabeth Dutton, Meg Twycross, Gordon L. Kipling; Contributions by Meg Twycross, …
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R924
Discovery Miles 9 240
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Ships in 12 - 17 working days
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Essays on aspects of early drama. Medieval English Theatre is the
premier journal in early theatre studies. Its name belies its wide
range of interest: it publishes articles on theatre and pageantry
from across the British Isles up to the opening of the London
playhouses and the suppression of the civic mystery cycles, and
also includes contributions on European and Latin drama, together
with analyses of modern survivals or equivalents, and of research
productions of medieval plays. The articles in this fortieth volume
engage with the key communities for early theatre: royalty, city
and household, and religious institutions. Topics include the Royal
Entry of Elizabeth Woodville into Norwich (1469); Henry VIII's
Robin Hood entertainment for Catherine of Aragon; the sun's
contribution to stage effects in the York Corpus Christi Play: the
engagement with local worthies in Mankind; and the convent drama of
Huy, in the Low Countries. Contributors: Aurelie Blanc, Philip
Butterworth, Clare Egan, John Marshall, Olivia Robinson, Michael
Spence, Meg Twycross.
Essays on festive drama - plays, pageantry and traditional
ceremonies - of the European middle ages, with comparative
material. Festive drama, in these studies, includes processions and
folk-customs as well as full-blown plays, from Spain, the
Netherlands, France, Germany, Britain, Denmark, and Bohemia (now
the Czech Republic). The main focus is the middleages, but style
and approach are as relevant as time-scale, reflecting a culture in
which there are no firm divisions between drama and pageantry and
traditional ceremonies. Common themes emerge: the world turned
upside-down of Shrovetide; the emotive power of religious
celebration; and the links between commerce and the demonstration
of civic pride. Festive customs are viewed as hidden agendas of
popular culture, and performances are reconstructed. Thisis the
obverse of art and power: the means by which the people, not the
princes, rule the world. Professor MEG TWYCROSS teaches at the
Department of English at Lancaster University. Contributors: PETER
H. GREENFIELD, OLGA HORNER, SHEILA LINDENBAUM, CLAIRE SPONSLER,
RONALD E. SURTZ, RAFAEL PORTILLO, MANUEL J. GOMEZ LARA, PAMELA M.
KING, ROBERT POTTER, JOHN CARTWRIGHT, DAVID MILLS, JAMES STOKES,
ALAN E. KNIGHT, MARJOKE DE ROOS, FEMKE KRAMER, TOM PETTITT, LEIF
SNDERGAARD, WIM HUESKEN, JEAN-MARC PASTREE, SALLY-BETH MACLEAN,
MALCOLM JONES, CHRISTINE RICHARDSON, JARMILA F. VELTRUSKY, JOHN
COLDEWEY.
Essays on aspects of early drama. Medieval English Theatre is the
premier journal in early theatre studies. Its name belies its wide
range of interest: it publishes articles on theatre and pageantry
from across the British Isles up to the opening of the London
playhouses and the suppression of the civic mystery cycles, and
also includes contributions on European and Latin drama, together
with analyses of modern survivals or equivalents, and of research
productions of medieval plays. This volume comprises the second
half of the Festschrift presented to John J. McGavin (of which
volume 27 is the first); its essays reflect and honour many of his
interests. The subjects addressed include ceremonial (a coronation
and a grand funeral), audience reception and spectatorship of many
kinds, Welsh drama, the role of women in the production of libels,
and the structure of didactic dialogue plays. A special addition is
the late David Mills'last essay, on the Abraham Sacrifiant of
Theodore Beze. Contributors: Mishtooni Bose, Elisabeth Dutton,
Alice Hunt, Pamela M. King, David N. Klausner, David Mills, Sue
Niebrzydowski, Nadia Therese van Pelt, Charlotte Steenbrugge, Eila
Williamson
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