Medieval Plays

1. Read the Following information. Highlight anything Important. For example: Dates, Locations, interesting information

A play, as most of you know, is where live actors get on a stage and act out a story in front of an audience.  During Medieval times most plays were religious and were used to teach people about the Bible, the lives of saints, or how to live your life the right way.  There were three different types of plays preformed during medieval times; The Mystery Play, the Miracle Play and the Morality Play.  

Mystery plays were stories taken from the Bible.  Each play had four or five different scenes or acts.  The priests and monks were the actors. Each scene or act was preformed at a different place in town and the people moved from one stage to the next to watch the play.  The play usually ended outside the church so that the people would go to church and hear a sermon after watching the play.

The Miracle play was about the life or actions of a saint, usually about the actions that made that person a saint.  One popular Miracle play was about Saint George and the dragon.    

Morality plays were designed to teach people a lesson in how to live their life according to the rules of the church. 

Sometimes these plays had elaborate sets, sometimes no sets at all.  It didn't seem to matter.  The people attended these plays.  They didn't have to, but it was a break from their normal daily lives.  

Medieval HistoryAfter the fall of Rome the 600’s A.D., came a period known to us as the "dark ages."

Much political turmoil – no reliable political structure

The Church was the only stable "government"

The church exerted increasing influence. In the 4th Century, the Bishop of Rome, claiming to be the successor to St. Peter, established supremacy in church matters and in secular concerns.

Feudalism – the manor was the chief non-church political entity.

The manor (large estate), headed by a nobleman, had absolute authority over the serfs, (peasants) who worked the land. Lords of manors were vassals, or subjects, of a king. The king’s knights protected the lords and their land.

Serfs (servants) owed allegiance to their lord.

There are many church edicts against mimi, histriones, ioculatores – terms for secular performers.

Little is known about the theatre between 600-1000 A.D.

1. There are references to actors (histriones), jugglers, rope dances in nomadic tribes, remnants of Roman mimes, popular pagan festivals and rites.

2. Teutonic minstrels or troubadours ( scops [pronounced "shope] ) became the primary preserver of tribal histories, but the Teutonic tribes converted to Christianity after the 7th or 8th century, and the scops were denounced, branded as bad as mimes.

3. But there was little written drama; none that survives, and almost no other surviving references to it.   Hrosvitha of Gandersheim, a nun

wrote religious plays based on Terence's plays, but they were         probably "closet dramas." Also Christian ceremonies, where the theatre seems to have been "reborn."1. Between 925 and 975, drama becomes re-introduced into the church services. 2. Theatre was "reborn" within the very institution that helped to shut it down. 3. Perhaps the church had little choice – it couldn't’t stop the pagan rites – too popular – so many aspects of pagan rites found their way into Christian ceremonies. (Christmas the birth of Christ, not celebrated in December till the 4th century, to take advantage of the winter festivals; Easter supplanted the spring festivals).In the 12th century, the Crusades helped bring other cultures to Europe (or, to be more accurate, Europeans took from other cultures and brought them to Europe).1. "Liturgical drama" –  within the church liturgy, the service 2. Other religious dramas extended outside the church, in the vernacular [native language]

Earliest extant drama from the middle ages:

• a four-line dramatization of the resurrection, with direction for its performance. • Comes from an Easter trope (interpolation into existing text, originally lengthened musical passages with words eventually added). – 925 A.D. • Sung by a choir at first • called the "Quem Quaeritis" •     "Whom seek ye in the tomb, O Christians? •     Jesus of Nazereth, the crucified, O heavenly beings, •     He is not here, he is risen as he foretold; •     Go and announce that he is risen from the tomb." • The Three Marys (Mary, the mother of Jesus; Mary, the sister of Martha and Lazarus of Bethany; and Mary Magdalene) come to the tomb of

Jesus, and the angel asks them who they are looking for.

By 975, it had become a little drama within the service, probably played by altar boys.The practice blossomed – many playlets developed dealing with biblical themes—mostly Easter, Christmas, the 12th Night (Feast of the Epiphany). Usually serious, but at the Feast of Fools and the Feast of the Boy Bishops, much dancing and foolishness and parodies of church

practices.

At first, the church had control of the drama outside of the church, but then it gradually became more controlled by secular groups. The Guilds (tradesmen or Confraternities) took over in some cities, and it was common for certain Guilds to retain control over certain plays / stories, all of which were based in some way on the Bible or religious teachings. For instance, the Bakers’ Guild would control the play about the Last Supper, and Shipwrights’ Guild would get plays about Noah, etc.

Municipalities took over in some cities. But the church still needed to approve the scripts, even when its role diminished.

Drama inside the Church – Liturgical Drama

Before 1200, most were still being done inside the church as part of the liturgy. Most were probably still in Latin, the language of the Church.

Staging:

• There were two main areas for the performances to take place: •     Mansions -- small scenic structures for indicating location (for instance, a throne might equal the palace of Pilate). • In more complex plays, there were many mansions. •     Platea – general acting area, adjacent to the mansion. • The church structure usually served as the mansions (the choir loft, for instance, could serve as heaven; the altar might be the tomb of Christ). • Machinery was also used: to fly Christ up to heaven, have angels come down, etc. • Costumes were probably ordinary church vestments. • By 1200, some of these plays were being performed outdoors.By 1350, plays were in the vernacular, rather than Latin. Laymen were the actors (male members of the community, unpaid—though there were some women on stage in France), no longer clerics and priests.The stories began to range even further than when they were part of the liturgical services.

The church seemed to support these dramas.

Why did they begin to move outdoors? Probably because of the expanding needs of the plays.

Medieval Drama outside of the Church:

• With diminishing church control, secularization led to some changes. • Sometimes the plays were very complex – in cycles – that someone was hired to oversee. • The master copy of the script was called the Register – sometimes the producing company / guild could monopolize or censor it or ban it -- • The Keeper of the Register was an important position and had much control. • The Master of Secrets – was in charge of the machines (secrets) – the special effects. • Often very intricate (need 17 people to operate Hell machinery in Belgium in 1501). • Flying was a major technique. • Quite common – almost all the scenes had Heaven on the right, Hell on the left, and Earth on the middle. • Therefore, angels, resurrection – had to use flying. • Platforms covered with cotton (the "glories") held angels. • Trap doors – appearances and disappearances (Lot’s wife turning into salt, etc.) • Fire – the hellmouth – a fire-breathing monster representing hell.

Medieval StagingTwo major kinds of stages in the medieval theatre: Fixed and Moveable

These technical tricks would be more extensive on fixed stages.

The mansion and platea were borrowed from the church services.

Simultaneous display of several locations also borrowed from liturgical drama-

Simultaneous staging was a distinctive characteristic of medieval theatre.

Fixed Staging: on the Continent (except Spain and parts of Italy) (W&G call them "platform stages)

• Mansions set up in available spaces (courtyards, town squares, etc.), usually arranged in straight lines or rectangles or circles, depending on the space.

• Heaven and Hell were at opposite ends, if possible.Moveable: pageant wagons (or click here) moved through the streets while the audience stayed in one place – like parade floats. (W&G call them "wagon stages") (see illustration in text) (click here for a picture..)• The term "pageant" is used to refer to the stage, the play itself, and the spectacle. • Plays performed in sequence – thus each play was performed several times. • There are few reliable description of pageant wagons. • One claims that the wagons must be over 12 feet tall—it would seem impossible to fit through the streets (many medieval streets had

overhanging buildings), and would be flimsy. [Archdeacon David Rogers, c. 1600].

The Medieval Drama – the plays themselves…  

• Medieval drama seems naïve if we don’t understand the period. • They have little sense of history – reflecting the limited knowledge of the people. • Anachronisms were quite common (In The Second Shepherds’ Play,  for instance, the stolen lamb becomes the baby Jesus, and the Shepherds

had been using Christian references even before this "baby Jesus" arrived). • Comic elements appeared in plays that were otherwise quite serious, and had as their purpose to teach Biblical stories and principles to the

people. • The medieval mind looked at the temporal world (Earth) as transitory; Heaven and Hell were the eternal realities.

The Religious Plays:◦ Performed in cycles. ◦ Three kinds of religious plays: ◦     -- Mystery plays – about Christ or from the Old Testament – usually done in cycles (Second Shepherds’ Play is one of these). ◦     -- Miracle plays – lives of saints, historical and legendary ◦     -- Morality plays – didactic allegories, often of common man’s struggle for salvation (Everyman – only his good deeds accompany

him in death).Characteristics in common:

1. aimed to teach or reinforce Church doctrine2. melodramatic: good rewarded, evil punished3. God and his plan were the driving forces, not the charactersTo us, these plays seem to be episodic, confusing sequences of time, and an odd mixture of comic and serious – unnerving.

Medieval Secular PlaysLatin comedies and tragedies were studied in schools and universities

1. Farce – very popular1. Particularly in France, where it was well-developed. Pierre Patelin – 15th century France – clever knaves outwitting each other.

Moralities – secularized – allegories based on classical gods and heroes, often with some political content Mummings and disguisings – given at wealthy homes on holidays – pantomimes, danced and narrated stories Interludes and Masques – between courses at a banquet, masques were allegorical compliments to the guests – with intricate dances and spectacle.

Towns staged pageants—the plays were often put in celebrations in honor of dignitaries.Secular plays were most often performed by professional actors attached to noble houses.

The Decline of Medieval Theatre:

1. Increased interest in classical learning – affected staging and playwriting2. Social structure was changing – destroyed feudalism and "corporate" nature of communities3. Dissension within the church led to prohibition of religious plays in Europe (Queen Elizabeth, the Council of Trent, 1545-1563 –

religious plays outlawed.).By late 16th century, drama of medieval period lost its force.Results of the decline:• Professional actors still needed, but not amateurs. • Professional theatre rose, became commercial (no longer a community venture). • No longer religious plays – returned to the classics for new ideas for stories. 

The Summoning of EVERYMAN:A Student Guide

Synopsis Of EVERYMAN:

This morality play seeks to answer the important religious question: "What must a man do to be saved?" God sends Death to summon Everyman, who represents all mankind. Good and Evil will be tallied like pluses and minuses in an account book. The play is the story of Everyman's journey to this final reckoning. Along the way, Everyman tries to convince other characters to accompany him in the hope of improving his account. The other characters are also allegorical; that is, each character personifies an abstract idea. The conflict between good and evil is dramatized by the interactions between characters. The play shows us not only how every man should meet death but also how

every man should live.

Everyman is a dramatized allegory. An allegory is a narrative in which the characters and action, and sometimes the setting as well, have two levels of meaning. The first level is literal -- a man is going on a trip. The second level is symbolic -- Everyman's life is a journey from birth to death, and every man makes this same trip. An allegory must make sense at both levels. All of the literal pieces will fit together to tell a story -- what happens. In addition, all of the symbolic pieces will fit together to teach a moral -- what the story means.

For example, John Bunyan's Pilgrim's Progress is an allegory teaching the doctrines of Christian salvation. The hero, named Christian, is warned by Evangelist to flee the City of Destruction and seek the Celestial City. En route Christian encounters such characters as Faithful, the Giant Despair, and Mr. Worldly Wiseman. He passes through places like the Slough of Despond, the Valley of the Shadow of Death, and Vanity Fair. On the literal level, this is an exciting adventure story. On the symbolic level, however, each adventure also teaches a moral lesson.

Activity One: In order to understand both levels of the play, you need to know the meaning of the following words. Define each word.

1. kindred2. moral3. mortal4. pilgrimage5. reckoning6. redemption7. repentance

8. respite9. reverence10. salvation11. sin12. summon13. virtue14. vice

Activity Two: The following questions ask you to recall the characters and events of the play -- what happens at the literal level.

1. Why does God send Death to summon Everyman?

2. How does Everyman react to the summons by Death?

3. The author of this play used deliberate repetition to drive home major points. In what way do Everyman's encounters with Fellowship and Kindred follow a similar pattern?

4. What happens when Everyman asks Goods to accompany him? Why does Goods think that his presence would adversely influence God's judgment of Everyman?

5. Why is Good Deeds at first unable to accompany Everyman?

6. How does Knowledge help Everyman on his journey?

7. Explain how the play supports the idea that knowledge of one's sin is necessary before one can truly repent.

8. How does the order in which Beauty, Strength, Discretion, and Five Wits abandon Everyman parallel the process of aging?

9. Who follows Everyman into the grave?

10. What does the weakness of Good Deeds reveal about the way Everyman has led his life?

Activity Three: Prepare a plot diagram for the play. Include brief notes indicating the order in which each character meets with Everyman and what happens during that meeting. For example, the first character who enters is Death. Everyman tries to talk Death out of taking him, begging for more time, and finally even attempting bribery. And so on.

Activity Four: Consider how you might use costume to identify each of the following major characters. List each character, describe the costume you have chosen, and explain how each character's costume and behavior might appropriately personify that abstract idea.

EverymanDeathFellowshipKindredCousin

GoodsGood DeedsKnowledgeConfessionBeauty

StrengthDiscretionFive WitsMessengerDoctor

For example, Good Deeds could be costumed as a Girl Scout because of the values supported in the Girl Scout Pledge:

"On my honor, I will try:To do my duty, to serve my country;To help other people at all times; andTo obey the Girl Scout Laws."

Thus, a Girl Scout is supposed to be honorable, religious, patriotic, helpful, and law-abiding. Line 3 of the pledge specifically promises to do good for others, but the other associations are also admirable. This is why a Girl Scout costume is appropriate to personify Good Deeds.

For the Test: Morality plays often dramatize man's struggle to avoid vice and seek virtue. Make sure you can define each of the following abstract terms on your own paper and give an example. You might look back at your MTV video notes.

Seven Deadly Sins

4. pride5. envy6. gluttony7. sloth8. lust9. avarice

Seven Redeeming Virtues

4. prudence5. justice6. temperance7. fortitude8. faith9. hope

Seven Sacraments

3. baptism4. confirmation5. communion6. penance7. ordination8. matrimony

10. wrath 10. charity 9. unction

CREATIVE WRITING: Select one of the following assignments.

1. Rewrite the story of Everyman in one of the following forms: a children's book, a fable, a fairy tale, or a modern short story. Design a frontispiece or cover for your creation which will show the summoning of your Everyman/Everywoman. You may include his/her companions, but you must include a sketch of your character, a title, your name, and a brief teaser to "seduce" readers into reading your version.

2. Write your own morality play, basing it upon contemporary images and moral concerns. Follow correct play form, as demonstrated in Everyman. Name your protagonist allegorically and make sure your play has a moral. Do not merely personify some vices and virtues, having them converse inanely -- create a lesson for a modern Everyperson.

3. Write a morality play called Every Student. Personify the problems Every Student faces during his journey to Graduation and the qualities that help him overcome those problems. Teach a moral by showing how Every Student can succeed.

Read the following excerpt from Robin Hood and then complete the activity bellow.

Robin Hoodby

Greg Banks

Characters:

Actor 1 plays The Sheriff/King Richard/solidier3Actor 2 plays Prince John/ Will Scarlett/ Soldier 1/Little John/ Friar Tuck Actor 3 plays Much/Maid MarianActor 4 plays Robin Hood / Marians dad/ Soldier 22 Musicians Merry Men/Soldiers

Two street musicians/beggars are playing as the audience comes. Maybe some Woody Guthrie. ‘I aint gonna be treated this way‘/ Aint got no home in this land anymore.’ Four beggars trying to raise some money from the audience. The beggars have been filtering in with the audience. One of them has a dog (it is his foot with a lead on it) that does tricks. Another plays a rather bad tune on a tin whistle...One just sits with a placard and is wrapped in very old blankets. One shuffles about with a can.)

2. 3  Give to the poor.

1 Give to the poor. Who’s going to do that? Rob from the rich, maybe. Give to the poor, no chance (Moves off).

3. 3  There are stories. 4. 4  About Robin Hood

3 Yes.

2. 2  And they’re just stories. Make believe. About some clown dressed up in green who flies through the forest on ropes, bursts out of trees, and saves the poor.

3. 3  Why not?

2 Dime for the dog.

1 Let’s go. (2 and I do the nose thing.)

4 God bless and good luck.

(1,2 and 4 leave 3 alone begging with a little placard gently singing the Robin Hood tune then he hears a noise behind him, turns and sees 1,2 and 4 who have become deer.)

3. 3  Robin Hood, Robin Hood riding through the glen, (Hears something, turns and sees deer.) Sssh! There. 4. 4  Grazing on the edge of the forest

2 Just waiting to be caught 1 A herd of deer

3 (To the audience) And that was my dad’s mistake. We’d been gone for days. We were going home empty handed. When he saw the deer. He knew he shouldn’t, but I had a baby sister at home, desperate for something to eat, crying night and day. He made me stay hidden in the bushes as slowly...slowly, he began to stalk the deer. But, as he moved towards them, they moved away. At last he was close enough... carefully taking his long bow...he placed the shaft of an arrow...drew back the bowstring... aimed. It was against the law, but we had to eat (As he is about to release the bow the deer turn into the Sheriff of Nottingham and others.)

Sheriff: Caught you. Red handed. Trying to kill the King’s deer.

Much: How many deer can the king eat? .Soldier: Be quiet.

Much: The forest is full of them. There’s enough for everyone. Soldier Silence.Much: I had no choice, your honour.Soldier: Kneel. Before the Sheriff of Nottingham.

Sheriff : Who is he?

Soldier: Much the Miller. We caught him before and cut off two of his fingers, Now, we’ve caught him again, we’ll take out his eyes. A third time and he hangs.

Sheriff : Poor Much. Not much to eat. Not much luck. Not much of anything. (Gently) What do you have to say for yourself?

Much: I had to hunt to get food.

Soldier: Kneel!

Much: My children are starving. We can’t live on grass.

Sheriff: Course you can’t. You’re not a rabbit. (Soldier laughs.) Shut up. So you decided to try a richer diet. The King’s deer!

Much: What would you do?

Sheriff: Not my problem. I haven’t got any children. I don’t like children. I wouldn’t waste my food on them if I had any. Look, I’ll make a bargain with you. Have you heard of Robin Hood? Course you have. Don’t look so innocent. All you miserable lawbreakers know him. He’s a rotten do- gooder.

Using the script above from Robin Hood you must translate the script into modern language in the table bellow. Remember when there is a number in front of the dialogue this means the dialogue belongs to a specific actor.

Character Dialogue Modern translation3 Robin Hood, Robin Hood riding through the

glen,I don’t believe you. Robin Hood is a myth. Plus if he were real he wouldn’t be in out neighborhood