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The text as it was written down (earliest 20 years after the last performance) has some very protestant theology in it and by the mid 1980s or so people in the field were talking about Chester as a 'Protestant' cycle in the form we have it. Christopher Goodman, a Protestant divine in Chester in 1572, either read the text they produced that year or saw it and supplied the archbishop of York with a list of 'absurdities' that show clearly that the play that year was quite unlike the text that is written down including the consecration of the host and other very Catholic references etc. In consultation with David Mills (the EETS editor and the man who found the Goodman material for the REED Cheshire collection) I am editing the text to fit Goodman's list and in the several places where there are redundant passages -- one with a clear Catholic slant and the other Protestant -- we are using the Catholic text. Does that help? Ingram, William wrote: > Hello all, > > What exactly does "a Catholic version" mean? Is there a Protestant version that I don't know about? > > Bill Ingram > > -----Original Message----- > From: REED-L: Records of Early English Drama Discussion [mailto:[log in to unmask]] On Behalf Of Abigail Ann Young > Sent: Tuesday, June 23, 2009 9:10 AM > To: [log in to unmask] > Subject: [Fwd: CFP: CHESTER 2010 reminder] > > CHESTER 2010: DRAMA AND RELIGION 1555-1575 > > A SYMPOSIUM ABOUT THE CHESTER CYCLE IN CONTEXT > > ABSTRACTS DUE 15 JULY 2009 > > Chester 2010 will stage a Catholic version of the complete Chester Cycle > of 23 processional pageant-wagon plays from the city of Chester, England > over three days 21-24 May 2010 on the campus of the University of > Toronto. The new text has been edited by Alexandra Johnston (REED). The > production of the pageants will be shared by PLS and acting companies > from all over North America including both university and community > groups. This version of the Chester Cycle enacts the Christian story > from Creation to Judgment, as we believe it was either witnessed or read > in 1572 by Christopher Goodman, a protestant divine who objected to its > catholic content. > > > The symposium will be organized for morning and evening sessions around > three afternoon performances: 20-minute papers are invited on any of the > following topics. This list is not exhaustive, the dates under study > approximate, and we particularly encourage new work from graduate > students as well as new or seasoned scholars. Selected papers may be > expanded for publication in a collection of essays on the Chester Cycle. > Abstract due date: 15 July 2009 > > 1. The changing relationship between religion and drama, especially in > the north: > > * Tudor interludes or other drama 1555-1575 > * concepts of king and state in Chester > * doubt and faith in Chester > > 2. Chester: the city as performance site: > > * processional stagings and civic architecture > * pageant wagons > * God above, Devil below > * intertextuality among pageants themselves, or involving other texts > > 3. Sound and silence in Chester: > > * music > * wordplay > * biblical echoes > * expectations of 1572 audiences > > 4 Words and pictures: > > * the Chester text in relation to Catholic iconography in the > British Isles and on the Continent > * textual revision as a form of Reformation iconoclasm > > > > By 15 July 2009, please send 250-word abstracts and short (1 page) CVs > to all three organizers: > > David Klausner, University of Toronto <[log in to unmask] > <mailto:[log in to unmask]>> > > Helen Ostovich, McMaster University <[log in to unmask] > <mailto:[log in to unmask]>> > > Jennifer Roberts-Smith, University of Waterloo <[log in to unmask] > <mailto:[log in to unmask]>> > > > >