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Another message from PERFORM..... AAY Forwarded message: > 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. >