The Middle Ages Drama Notes

Page 1: Introduction to Medieval Drama

• Overview of the role of the church in introducing dramatic elements into its ceremonies.

• Functions of these developments against pagan traditions.

  • Church aimed to revive interest in Christianity through visual spectacle.

• Introduction of dramatic interludes in church services (tenth century) marked a significant shift.

Page 2: Church Drama Development

• Initial use of dramatized episodes by the church for clarity of lessons.

  • Latin language barriers made visual representations more effective.

• Development encouraged by church calendars and events related to the life of Christ, including Advent, Christmas, and Easter.

  • Easter plays emphasized the theme of resurrection and were the most commonly produced.

• Example: Oldest existing Easter trope involving interaction between Angels and the Three Marys.

Page 3: Continued Development of Church Plays

• Thematic focus on Easter celebrations, with other biblical events dramatized later.

• Plays became widespread by around 1200; their performance was not limited to churches but expanded into various regions across Europe.

• Staging conventions included the use of mansions (for different scenes) and a neutral playing area called the platea.

Page 4: Theatrical Innovations in the Middle Ages

• Transition of plays from church settings to outdoor performances around 1200.

• Reasons included potential interference with liturgical services and restrictions on play development within confined church settings.

  • Remaining church control over drama as an important teaching instrument.

Page 5: Rise of Vernacular Drama

• Emergence of lengthy vernacular plays during the fourteenth century.

• Two key views on the development of vernacular drama:

  • Gradual move from short liturgical plays to longer vernacular performances.

  • Independent development of cycles from liturgical drama, drawing from the Bible.

• The festival timings for plays were crucial; spring and summer performances became prominent.

• Introduction of laymen as actors in the new outdoor performances.

Page 6: Staging Techniques in Early Drama

• Stages could be fixed or movable, with fixed stages typically larger and more elaborate.

• Scenic conventions relied on from church: multiple mansions and generalized acting areas.

• The typical platform staging organization emphasized symbolic representations of Heaven, Earth, and Hell.

Page 7: Special Effects in Medieval Productions

• Emphasis on realistic effects for miraculous events in dramas.

  • Use of stage machinery ('secrets') and trap doors for dramatic appearances.

• Progression towards semi-professional stage technicians as productions grew in complexity.

• Different stages had varied capabilities for effects, leading to more elaborate shows.

Page 8: Character Representation in Medieval Drama

• Use of costumes to symbolize character roles: angels, saints, and secular characters.

  • No focus on historical accuracy in clothing choices.

• The portrayal of devils designed to inspire fear and reinforce moral tales.

• Audiences understood character representation through visual symbolism.

Page 9: Outlook on Medieval Drama

• Understanding the medieval worldview key to interpreting drama’s themes: eternal vs. temporal time.

• Lack of historical detail in plays, reflecting a focus on themes rather than events.

• Providence seen as central to events, making causal plot lines less essential.

Page 10: Mystery Plays

• Major form of medieval drama, derived from the word 'mystery' linked to trade guilds.

• Exist in cycles produced across England, with significant cycles including York, Chester, Wakefield, and Coventry.

• Mystery plays were performed during communal festivals, mainly Corpus Christi.

Page 11: Processional Staging in England

• Cycle plays often performed as part of the Corpus Christi festival, integrating into a town's cultural events.

• Guild responsibilities ensured the accurate representation of these performances.

Page 12: Visual Impact in Productions

• Detailed prompt books from notable productions demonstrate highly organized efforts for staging.

  • Staging complexity and spectacle began to grow, including special effects and detailed prompts.

Page 13: Emergence of Morality Plays

• Morality plays modeled ethical dilemmas characters face, often involving personifications of virtues and vices.

• Notable example, Everyman, depicting a character's journey towards salvation, emphasizes universal human experiences.

Page 14: Secularization of Morality Plays

• Morality plays started merging with secular themes, influenced by social and religious reforms.

• Development of more secular narratives and characters, leading towards professional performance styles.

Page 15: Secular Dramatic Forms

• Emergence of secular folk plays and farces around popular heroes, with elements derived from pagan traditions.

  • Example: Pierre Patelin, illustrating cleverness and comic misadventures, serves to reflect human folly.

Page 16: Interludes and their Evolution

• Secular interludes as non-religious performances became more popular near the end of the fifteenth century.

• Developed independently but often blurred lines with morality plays.

Page 17: Decline of Medieval Drama

• Several factors led to the decline including the rise of classical learning, societal changes, and church disputes.

• Exit from ecclesiastical control, leading to the establishment of secular theater as a commercial enterprise.

  • Fundamental shift from community-managed presentations to commercially supported performances.