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Dear Friends, We haven't had much discussion on REED-L for some time, so I would like to stir the pot, or prime the pump, or whatever the right metaphor is, with a very thoughtful review of Early Theatre vol 3 (the York Cycle issue) provided by long-time REED-Ler Shirley Carnahan. I hope that others who're used the issue, especially in the classroom, will have things to add. Yours, enjoying fool's spring in Toronto, Abigail Abigail Ann Young (Dr), Associate Editor/ Records of Early English Drama/ Victoria College/ 150 Charles Street W/ Toronto Ontario Canada Phone (416) 585-4504/ FAX (416) 813-4093/ [log in to unmask] List-owner of REED-L <http://www.chass.utoronto.ca/~reed/reed-l.html> http://www.chass.utoronto.ca/~reed/reed.html => REED's home page http://www.chass.utoronto.ca/~reed/stage.html => our theatre resource page http://www.chass.utoronto.ca/~young => my home page ---------- Forwarded message ---------- Date: Fri, 16 Mar 2001 06:58:49 -0700 (MST) From: CARNAHAN SHIRLEY E <[log in to unmask]> To: Abigail Ann Young <[log in to unmask]> Subject: Review When I sat down to read Early Theatre, volume three, I posed myself two specific questions: first, would the articles make sense to all, even those who had not attended the 1998 Toronto performances of and symposium on the York Cycle. Second, given a positive answer to the first question, would the text therefore be useful in the classroom as a teaching tool? I am happy to report that, in my opinion, the answer to both questions is a resounding Yes! The re-ordering and editing of the papers given at the symposium fill in the gaps for those who did not have the pleasure of being in Toronto for The Event and simultaneously prepare the way for students reading the volume for a class. For example, starting with Peter Meredith's article on what we know (and do not know) about York and its pageants and with Eileen White's article on York's playing places contextualizes the following discussions, giving a clear and succinct introduction to the main issues surrounding the York Cycle itself and productions of its plays. The following five articles on staging and audiences focus our attention on some specific issues of production (end-on or side-on, on the wagon or in the street, etc.). This section will be particularly useful in a classroom as the articles help students visualize the plays and see them as playing texts and not just dusty documents meant only to be read. As an aside, I must say that I am thrilled that Pamela King, in her article on audiences, chose to include her imagined dialogue between two matrons viewing the plays in the 15th century (page 165). Admittedly, this is one moment when those who attended the symposium have the advantage since no one present will forget Pam and Meg Twycross's performance of this vignette. But even just reading the dialogue brings the members of the 15th century audience to life in all their recognizable humanity. The next two articles on language (and silence!) concentrate on the text as a written document, but not as an inert or stagnant one. The emphasis in these articles on a close reading is an immense benefit to a classroom teacher attempting to get her students to do just that. Especially useful is Alexandra Johnston's discussion of the silent Christ since she presents an ideal example of the power of a silent character. Since this phenomenon is not always obvious on the page but extraordinarily apparent on stage, the article will be particularly valuable when teaching students to look for and be aware of characters who may not speak in a scene but who remain an integral part of the action. The inclusion of the directors' articles in the latter part of the volume adds yet another dimension to this text as a teaching tool. Although this section might be most practical in conjunction with the videos of the 1998 performances, using both is not necessary. The articles clearly set out the process that directors go though while researching a script and making production choices. In a classroom a teacher could have students create their own production notes, perhaps based on or in answer to one or more of the articles. Such an exercise would combine research on the period with close reading of the original text as the students gathered their support. Therefore the answers to both questions I posed myself are affirmative. Early Theatre, volume three, is not only completely understandable to those who were not in Toronto in 1998, it will make an excellent classroom text. In her introduction, Alexandra Johnston notes the imminent publication of Richard Beadle's EETS edition of the York plays. The combination of Beadle's edition and Early Theatre, it seems to me, would make an excellent book order for a course that includes the study of medieval drama. ***************************************************************** Dr. Shirley Carnahan Comparative Literature and Humanities Instructor/Undergraduate Advisor [log in to unmask] (303) 492-5444 Campus Box 331 University of Colorado at Boulder *****************************************************************