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Contributors Omer Jodogne University of Louvain, Belgium
Wolfgang Michael University of Texas at Austin
Sandro Sticca State University of New York at Binghamton
V. A. Kolve University of Virginia
Glynne Wickham University of Bristol, England
William L. Smoldon Essex, England
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The Medieval Drama
Papers of the third annual conference of the Center for Medieval and Early Renaissance Studies State University of New York at Binghamton 3-4 May 1969
Edited By Sandro Sticca
State University of New York Press Albany
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First published in 1972 by State University of New York Press 99 Washington Avenue, Albany, New York 12210
Second printing, 1973
1972 State University of New York All rights reserved. Printed in U.S.A.
Library of Congress Cataloging in Publication Data
The medieval drama. "Papers of the third annual conference of the Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, 3-4 May 1969." English or French. Includes bibliographies. 1. Drama, MedievalCongresses. I. Sticca, Sandro, 1931- ed. II. New York (State). State University at Binghamton. Center for Medieval and Early Renaissance Studies. PN1751.M4 1972 809'.2'02 78-152517 ISBN 0-87395-085-2 ISBN 0-87395-185-9 (microfiche)
Page v
Contents
Preface,
vii
Le thtre franais du moyen ge: recherches sur l'aspect dramatique des textes,
Omer Jodogne
1
Tradition and Originality in the Medieval Drama in Germany,
Wolfgang Michael
23
The Literary Genesis of the Latin Passion Play and the Planctus Mariae: A New Christocentric and Marian Theology,
Sandro Sticca
39
Everyman and the Parable of the Talents,
V. A. Kolve
69
The Staging of Saint Plays in England,
Glynne Wickham
99
The Origins of the Quem Quaeritis Trope and the Easter Sepulchre Music-Dramas, as Demonstrated by their Musical Settings,
William L. Smoldon
121
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Preface
Research on the complex and vast literary production of the Middle Ages does not permit us to reconstruct with exactness the history of all its genres, the drama, in particular. But the available texts allow us to consider as certainty what some scholars have traditionally regarded as assumptions: the non-existence during the entire Middle Ages of an authentic secular theater either as survival or imitation of the classical one (bearing in mind the true significance of theater, which requires scenic action actually performed by actors impersonating the characters with voice and gestures), and the birth de novo of modern drama from the liturgy of the Church. The inferior modes of representation of the mime and panto-mime, the limited and undramatic notions of comedy and tragedy possessed by the Middle Ages, and its meager and blurred understanding of the formal drama in the ancient world, suggest the absence during the Middle Ages of a secular dramatic tradition.
To be sure, the histrionic tradition persisted in a multiplicity of forms, the more widely disseminated being that of the mime. It is now generally agreed that the performance of the mimes differed considerably from the modern theatrical production. Already during the Empire the old histrio (actor) had been supplanted by the pantomimus, and by the fifth and sixth centuries they came to be associated with the mimus, whose repertory consisted of a facile and clever imitation of human customs and lewd scenes in which panderers, prostitutes, and adulterers were portrayed. Such, too, ap-
Page viii
pears to be the medieval application of these terms, as indicated in Papias' "Mimus... id est ioculator et proprie rerum humanarum imitator sicut olim erant in recitatione comediarum quia, quod verbo recitator dicebat, mimi motu corporis exprimebant,"1 and Isidore's "Histriones sunt qui muliebri indumento gestus impudicarum feminarum exprimebant, hi autem saltando etiam historias et res gestas exprimebant."2 Concerned in his work with transmitted knowledge and its sources, Isidore is here referring to past practices, as evidenced by the tense used. To be sure, he must have known contemporary mimi and histriones who gave imitation of "human things'' or stories. But one ought to distinguish, as Allardyce Nicoll does, between acting in the old classic tradition of mimic impersonation with its "imitation" of life, and ancient, or for that matter modern, dramatic performance utilizing actors, dialogue, and action.
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