Another message from PERFORM..... AAY
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> From @vm.utcc.utoronto.ca:[log in to unmask] Tue Apr 27 22:
+ 51:35 1993
> Message-Id: <9304280251.AA14486@>
> Date: Tue, 27 Apr 1993 21:50:36 EDT
> Reply-To: PERFORM - Medieval Performing Arts <[log in to unmask]>
> Sender: PERFORM - Medieval Performing Arts <[log in to unmask]>
> From: Jesse Hurlbut <[log in to unmask]>
> Subject: Teasers
> To: Multiple recipients of list PERFORM <[log in to unmask]>
>
> *** SNEAK PREVIEW ***
>
> Kalamazoo Session 386
>
> CONTINENTAL MEDIEVAL DRAMA
>
> (Sponsored by the Medieval and Renaissance Drama Society)
> Sunday, May 9, 10:00 A.M.
> Room 1045 Fetzer
>
>
> K. JANET RITCH, UNIVERSITY OF TORONTO
> A Critical Analysis of the Staging of an Unedited French
> _Resurrection de Jesus Christ_ by Eloy Du Mont
>
> The unedited _Resurrection_ play (Paris: B.N. fr. 2238) was
> written in sixteenth-century Normandy by a teacher at the
> University of Caen. Close textual analyses of both the
> unedited manuscript and its sources, principally the pseudo-
> Bonaventura _Meditationes Vitae Christi_ and the recently
> edited _Resurrection d'Angers_, provide some solutions to the
> questions of staging.
>
>
> ERIC T. METZLER, INDIANA UNIVERSITY
> Playwork in Medieval German Easter Drama
>
> The dual presentation of both playful frivolity and serious
> religious content in German Easter drama from the late Middle
> Ages presents an interesting problem for modern scholars.
> While some have dismissed the scatological, bawdy, or
> slapstick components of these plays to focus exclusively on
> their religious aspects, others have ignored their serious
> side in order to discuss only their subversive or liminal
> characteristics. This paper will seek to rescue Medieval
> German Easter drama from these traditional polarized
> categorizations by taking both their playfulness AND
> seriousness into account.
>
>
> JAY E. MOORE, MUSKINGUM COLLEGE
> Love, Reason, and Salvation in Late-Medieval French and Spanish
> Moral Drama
>
> The personified character, Love, is problematic for modern
> readers of the sacramental plays (autos sacramentales) of
> sixteenth- and seventeenth-century Spain and the moralitis of
> fifteenth-century France. The frequency of _Amor_ in the
> Spanish plays and the scarcity of _Amour_ in the French plays
> point in fact to a cultural and theological basis on which to
> distinguish moralitis from autos sacramentales.
>
>
> WIM HUSKEN, NIJMEGEN, THE NETHERLANDS
> Politics and Drama: The City of Bruges as Organizer of Drama
> Competitions
>
> In the Burgundian Netherlands, civic authorities used to
> incite the inhabitants of large towns to celebrate the birth
> of a prince or a princess, the conclusion of a peace treaty
> or any other main political event. This paper takes the case
> of the town of Bruges in order to examine in detail why,
> precisely, and when authorities invited competitors,
> individuals and companies alike, to perform drama within
> their walls.
>
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