Street Scenes: Late Medieval Acting and PerformanceStreet Scenes offers a theory of late medieval acting and performance through a fresh and original reading of the Tretise of Miraclis Pleyinge. The performance theory perspective employed here, along with the examination of actor/character dialectics, paves the way to understanding both religious theatre and the complexity of late medieval theatricalities. Sharon Aronson-Lehavi demonstrates the existence of a late medieval discourse about the double appeal of theatre performance: an artistic medium enacting sacred history while simultaneously referring to the present lives of its creators and spectators. |
Contents
Epic Acting Total Acting and Performance | |
A Treatise of Miraclis Playing A Modern English Version | |
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acting actor actor playing actor/character dialectics Adam aesthetic andthe asthe audience Bertolt Brecht betweenthe biblical bodily body Brecht Brechtian Caiaphas character characterizes Christ Clifford Davidson concept of performance contemporary context contrariety convention Corpus Christi Corpus Christi Play Crucifixion cultural deeds demonstrates discourse edited emphasizes enactment English epic Epic Theatre episode event example exemplum flesh fleshly gesture God’s holy inthe inthis isthe Jesus Joseph late medieval Lord Mary Mary’s mask means medieval religious theatre medieval theatre metatheatrical Middle Ages miraclis playing miraclis pleyinge mystery plays Noah’s notonly ofGod ofthe plays onthe pageant Passion players reception theory reference religious vernacular theatre Richard Schechner ritual role significant simultaneously somergame specific spectators stage thatthe theatrical theaudience theory theperformance theplays theToMP ToMP ToMP’s tothe Tretise of Miraclis Twycross University Press voice weeping werkis whereas withthe words worship York cycle York Mystery Plays þat þis