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I would like to raise discussion about Muslims in early modern drama. One subject for discussion would be about how far Turks became a dramatic convention: re. Hieronimo's play in The Spanish Tragedy. ----- Original Message ----- From: "Abigail Ann Young" <[log in to unmask]> To: <[log in to unmask]> Sent: Monday, March 19, 2001 7:35 PM Subject: Review (fwd) > 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 > ***************************************************************** >