Relevant bibliographies by topics / Mysteries and miracle-plays Drama

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  2. Dissertations / Theses
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Academic literature on the topic 'Mysteries and miracle-plays Drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Mysteries and miracle-plays Drama"

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Normington, Katie. "Little Acts of Faith: Katie Mitchell's ‘The Mysteries’." New Theatre Quarterly 14, no. 54 (May 1998): 99–110. http://dx.doi.org/10.1017/s0266464x0001191x.

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The success of Katie Mitchell's production ofThe Mysteriesfor the Royal Shakespeare Company has again demonstrated the appeal of the plays for a modern audience. Most revivals trim and otherwise adapt the texts of the original, sprawling cycles: but Mitchell and her dramaturg, Edward Kemp, more calculatedly addressed the problems of updating not only the texts, but also the acting style and attitudes towards the dominant issues – notably those of gender representation. The original cycles often intriguingly juxtaposed religious faith and local politics in an assertion of civic pride which none the less also acknowledged the dominance of the established Church: and in the following article Katie Normington assesses the relevance of Mitchell's production for the secular, depoliticized society of the 'nineties. Katie Normington is a freelance fringe theatre director who is currently researching the role of women in the mystery plays and lecturing in drama at Royal Holloway College, University of London.
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Zeitlin, Froma I. "Mysteries of identity and designs of the self in Euripides'Ion." Proceedings of the Cambridge Philological Society 35 (1989): 144–97. http://dx.doi.org/10.1017/s0068673500005174.

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TheIonis one of Euripides' most dazzling and puzzling plays. Poised on the boundary between the sacred and the sceptical, the mysterious and the mundane, the mythic and the realistic, and, as so many have noted, between the tragic and the comic, the drama dips and twists and turns and turns and turns again in a continuing series of theatricaltours de force. The birds who swoop down in the opening scene and intervene again in the most important moment of the plot at Ion's banquet might well exemplify these paradoxes of which I speak.Defilers of the sacred temple dedications with unwanted offerings of their own (106–7, 176) and nesting in the eaves of the roof, crudely ‘making offspring’, no doubt, as Ion suspects them of doing (172–5), they are at the same time bearers of sacred messages (phēmas) to mortals from the gods (180–1), oracular portents (oiōnoi) both generic and particular (1191, 1333, 377) which will prove their worth when, later at the banquet, one of the birds drinks the poisoned wine meant for Ion and by its own lifeless form reveals the lethal plot to its interpreter (1196–211).
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Mapindani, Aleck. "FATED EXISTENCE? CALCULATING THE TRAGIC CULMINATIONS OF OTHELLO AND OEDIPUS THE KING." Imbizo 6, no. 2 (June 21, 2017): 43–48. http://dx.doi.org/10.25159/2078-9785/2805.

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The tragic trail that both Shakespeare and Sophocles take as fictional playwrights marks a remarkable approach to dramatic writing that leaves no shade of doubt upon their proficiency in this particular field.The Shakespearian option follows a discernible literary trajectory reflective of military nobility juxtaposed with a myopic and gullible stature of simplicity. This, however, projects an extremised Moorish level of racial vulnerability and criticism that yields to manoeuvred deception through diplomatic machinations by the jealous Venetian lot. Sophoclean drama is, in this case, an embodiment of the harsh spells of predestiny taking their toll behind an unconscious conceited politician – from before his birth right up to maturity and his climactic royal demise. In both plays, the dramatic interplay of thematic motivations seem to signal a back-and-forth war between humanity (that is, a human struggle for survival fought against personal flaws) and the phenomenally devastating forces of fate and nature that direct their feet towards heroic ruin. The article takes an interrogative stance, calculating the cause of the interwoven mysteries embedded in both human carnality and celestial forms that advise the heart-rending literary movements adopted by the twin plays as they march inexorably towards the downfall of their respective heroic figures.
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Harvey, Carol. "Dramatising the Romance: from La Manekine to La Fille du roy de Hongrie." Florilegium 19, no. 1 (January 2002): 109–26. http://dx.doi.org/10.3138/flor.19.006.

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In the fourteenth century, a new kind of religious drama gained popularity in France, the miracle play or miracle par personnages. The genre originated in the numerous legends of the Virgin Mary in both Latin and French, of which the most famous are those collected by the thirteenth-century monk Gautier de Coincy. The miracle play was intended for the edification of the people, and its overarching theme is the Blessed Virgin's intercession in favour of mortals who have gone astray or who are otherwise in distress. The earliest-recorded dramatisation of the non-scriptural miracles attributed to Mary is Rutebeuf's well-known Miracle de Théophile, in which the cleric Theophilus rashly sells his soul to the devil and does his bidding for seven years; then, repenting of his sins and transgressions he invokes the aid of Mary, who conquers the devil and restores Theophilus to the path of righteousness. However, the major source of our knowledge of miracle plays is the two-volume Cangé manuscript (Bibliothèque nationale de France MS fr. 819-820), a remarkable record of dramatic production comprising forty miracles composed and performed in Paris, over the lengthy period between 1339 and 1382, during the annual assembly of the Saint-Éloi Gold and Silversmiths' Guild.
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van der Helder, Ebba. "Drama and its intellectual climate: the roles of Mary and Christ in some German miracle and eschatological plays." Parergon 4, no. 1 (1986): 117–33. http://dx.doi.org/10.1353/pgn.1986.0011.

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Medgyesy S., Norbert. "Teológiai érvelések, hitoktatás és misztériumábrázolás a 18. századi csíksomlyói ferences színpadon (2.)." Studia Theologica Transsylvaniensia 23, no. 2 (December 10, 2020): 231–72. http://dx.doi.org/10.52258/stthtr.2020.2.03.

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In the grammar school of Csíksomlyó (Șumuleu Ciuc), a Franciscan site of Marian pilgrimage in Transylvania, 104 school plays were produced by the pupils between 1721 and 1786. These were predominantly mysteries in the vernacular: Good-Friday Passions, Judgement-Day Dramas and the odd play for Corpus Christi Day or the Assumption. This annual tradition of education as well as pastoral care preserved the characteristics of mediaeval West European mysteries for the longest time and in the farthest geographical location. This paper addresses the question of how these mysteries presented theological or dogmatic facts as staged Poor Man’s Bibles, that is, theatrical catechesis. The first part examines the 106 types of New Testament scenes and their 71 Old Testament antitypes. The following Roman Catholic dogmas were staged in Csíksomlyó: the Trinity; the Creation of the World; the Fall of the Devils; the Fall of Humanity; the Incarnation of the Christ (the so-called Heavenly Trial, Proces de Paradis); the Immaculate Conception, Virginity, Assumption, and Intercession of the Virgin Mary (Maria Advocata); the doctrine of the Eucharist. The theological teachings were cast in the form of human and allegorical figures and presented by the grammar-school students to a numerous and predominantly illiterate audience on a three-level stage, in mother-tongue performances of illustrative verse, in a style adequately sacred as well as easy to comprehend.
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Medgyesy S., Norbert. "Teológiai érvelések, hitoktatás és misztérium- ábrázolás a 18. századi csíksomlyói ferences színpadon (1.)." Studia Theologica Transsylvaniensia 23, no. 1 (June 15, 2020): 35–69. http://dx.doi.org/10.52258/stthtr.2020.1.03.

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In the grammar school of Csíksomlyó (Șumuleu Ciuc), a Franciscan site of Marian pilgrimage in Transylvania, 104 school plays were produced by the pupils between 1721 and 1786. These were predominantly mysteries in the vernacular: Good-Friday Passions, Judgement-Day Dramas and the odd play for Corpus Christi Day or the Assumption. This annual tradition of education as well as pastoral care preserved the characteristics of mediaeval West European mysteries for the longest time and in the farthest geographical location. This paper addresses the question of how these mysteries presented theological or dogmatic facts as staged Poor Man’s Bibles, that is, theatrical catechesis. The first part examines the 106 types of New Testament scenes and their 71 Old Testament antitypes. The following Roman Catholic dogmas were staged in Csíksomlyó: the Trinity; the Creation of the World; the Fall of the Devils; the Fall of Humanity; the Incarnation of the Christ (the so-called Heavenly Trial, Proces de Paradis); the Immaculate Conception, Virginity, Assumption, and Intercession of the Virgin Mary (Maria Advocata); the doctrine of the Eucharist. The theological teachings were cast in the form of human and allegorical figures and presented by the grammar-school students to a numerous and predominantly illiterate audience on a three-level stage, in mother-tongue performances of illustrative verse, in a style adequately sacred as well as easy to comprehend.
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Koneczniak, Grzegorz. "Supernatural Beings and Their Appropriation of Knowledge and Power in The Seafarer by Conor McPherson and Woman and Scarecrow by Marina Carr." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 6, no. 1 (December 30, 2020): 40–51. http://dx.doi.org/10.18778/2353-6098.6.05.

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This article is a comparative analysis of Woman and Scarecrow by Marina Carr and The Seafarer by Conor McPherson from a hauntological perspective. It aims at discussing the influence of supernatural beings on mortal protagonists as well as addressing the configurations of power and knowledge formed between the characters. Woman and Scarecrow follows the final moments of a dying woman accompanied by the mysterious figure of Scarecrow, who is hidden from other characters. The verbal exchanges between Scarecrow and Woman will be interpreted as a manifestation of the apparent power possessed by the former, the ambiguous supernatural figure, over the latter, a human being, in terms of appropriating the knowledge about the woman’s past. In McPherson’s The Seafarer, a mysterious relationship develops between Sharky and Mr. Lockhart, who knows about Sharky’s past, too. This paper will demonstrate both similarities and differences in the way in which Carr and McPherson make use of supernatural beings that manipulate human characters in the most crucial moments of their lives and will situate the two plays within the recent rise of interest in spectrality in Irish drama.
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Vivcharyk, N. M. "TRANSFORMING A PLOT OF THE GOSPEL IN PLAYS “ON THE FIELD OF BLOOD” BY LESIA UKRAIINKA AND “GOLGOTHA – HOLY PASSIONS, DEATH AND RESURRECTION OF OUR LORD JESUS CHRIST” BY HRYHOR LUZHNYTSKYI." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 298–304. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-298-304.

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The article has analyzed the literary devices of dramas “On the Field of Blood” and “Golgotha – Holy Passions, Death, and Resurrection of Our Lord Jesus Christ”. It is proved that both literary works have their origins in mysteries. The author specifies that receptions of the Gospel’s plots or characters depend on the historical epoch, the worldview of the writer, the literary conception, and the genre specificity of the literary work. Hryhir Luzhnytskyi used the method of “revival” of the Biblical story. Lesia Ukraiinka described the terrestrial way of Christ through the retrospective memories of Judas Iscariot, who had sold the Savior for the thirty pieces of silver. The author has also revealed and analyzed the differences between the two variants of play “On the Field of Blood” by Lesia Ukraiinka. She thoroughly described the character of Judas, motivations for his actions, symbolic characters, and details.
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Avram, Cristi. "Isabelle – The Last Princess of Maurice Maeterlinck." Theatrical Colloquia 10, no. 2 (December 1, 2020): 166–76. http://dx.doi.org/10.2478/tco-2020-0028.

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AbstractMaurice Maeterlinck, the author of some of the plays associated with the symbolist aesthetic, in which the character is often an unseen presence associated to destiny or death, writes in the first part of his career a collection of dramas in which the heroines seem to appear each time under different guises. At the end of his career, Maeterlinck returns to the mysterious universe proposed in his first text – The Princess Maleine, finishing the circle of love dramas, the dramas of the profound self discovery. The princess Isabelle comes and claims the unfulfillment of her sisters from the previous texts, which she afterwards saves. The obsession of the water, a lethal substance for most of Maeterlinck’s heroines, becomes for Isabelle the unconscious need for purification. Being the last text published during this author’s life, it contains within its structure fragments from almost all his previous work, and thus there is a certain continuity and unity between the obscurity of this author’s beginnings and the light of revelation which precedes the great travel to the unknown.
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Dissertations / Theses on the topic "Mysteries and miracle-plays Drama"

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Longtin, Mario. "Edition du Mystère de sainte Barbe en deux journées BN Yf 1652 et 1651." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24090.

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This thesis consists in editing, side by side, two printed texts of Le Mystere de sainte Barbe en deux journees. The oldest (which can be found at "La Bibliotheque Nationale de Paris", call number BN Yf 1652) has been published by la Veuve Trepperel and Jehan Jehannot between the years 1511 and 1517. The other text, also to be found at "La B.N.P." (call number BN Yf 1651) is a revised edition of the former published between the years 1552 and 1585 on Simon Calvarin's press. The BN Yf 1652 contains 3 677 lignes, whilst the Calvarin's edition is of 3 734 lignes; both texts are at fourteenth characters. The mystery play is divided in two days. It consists almost exclusively of octosyllables.
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Beauchamp, Pauline. "The Corpus Christi plays as dramatizations of ritual : an examination of the decline of the medieval theatre." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63121.

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Sokolowski, Mary E. ""For God of Jewes is crop and roote" : the cyclic performance of Judaism and Jewish-Christian intimacy in the Chester mystery plays /." Online version via UMI:, 1999.

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Dupras, Elyse. "Rôle des diables dans les mystères hagiographiques français (de la fin du XIVe siècle au début du XVIe siècle)." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82861.

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Masks, actions, words. These three elements provide a starting point for a study of the devil figure as represented in Middle French saint's plays (mysteres hagiographiques).
An urban, popular art, mediaeval French theatre addressed a broad public that it was considered useful to both edify---particularly in the case of the mysteres---and divert. The mysteres represented and interpreted the world. In this theatre, the devil figures embody Evil and adversity, but also alterity. Placed in opposition to the saints and the sublime inhabitants of Heaven, they appear grotesque, crude and carnivalesque. Often the mainspring of the action, they are essential to the plot of the saint's play; noisy and garrulous, they are a no less necessary element of the mysteres' discourse on the world (tangible or intangible, earthly or celestial). The devil, ever ill-intentioned, concocts evil plots and engages in infernal dialogues---which the mystere presents in order to further its edifying goals and propagate its unifying and didactic message.
This dissertation examines some of the most important aspects, in terms of the mystere's reception, of the devil figure. The first part, which deals with diabolical masks, discusses their external features (scenery, costumes, gestures, disguises) and certain of their linguistic characteristics. The second part studies the actions of the devils themselves. Their principal activities are identified and defined, and divided into three broad categories, according to whether the devils attempt to draw human beings and their activities into their sphere of influence, or commit evil deeds, or fail in their baleful plans and end up serving God despite themselves. The third part of the thesis studies diabolical discourse. More specifically, it analyses the relationship between the speech of devils (traditionally perceived as deceitful) and truth. Using the concepts of place and authority, we can read certain instances of this speech as illegitimate, while an examination of the workings of the discourse of diabolical seduction reveals the twisted nature which the mysteres attributed to devils.
A study of the devil figure thus provides an opportunity to understand in some measure the role the mysteres hagiographiques played in relation to the mediaeval public, whose perception of the other (as well as of the same) the saint's plays represented even as they helped construct it.
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Christie, Sheila. "Marking the boundaries : explorations of meaning and identity in the York Corpus Christi cycle." Thesis, 2000. http://hdl.handle.net/2429/10577.

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This thesis explores the implications of the relationships between building trade guilds and the pageants they produced in York, and examines this relationship over the two-hundred-year production of the York Cycle. Because this relationship and the reception of any dramatic performance is heavily influenced by context, we need to look closer at the social, political, and economic environment of late medieval York in order to better understand the range of interpretations available to the Cycle's original audience. Doing so also allows us to witness the issues of identity and community that are negotiated throughout these plays. Chapter 1 examines the guilds responsible for most day-to-day construction (the plasters, tilers, and carpenters) and explores the interpretations that the conjunction of guild casting, play text, and historical context invites. The Plasterers' "Creation" deals with issues of labour and political power, economic fluctuations influence representations of family and community in the Tilers' "Nativity," and the Carpenters' "Resurrection" explores issues of integrity and urban corruption, while also representing a struggle for social authority. Chapter Two considers the participation of groups outside of civic jurisdiction, most particularly the Masons, and investigates the ways in which the York Cycle may have cut across boundaries (or united "separate" groups) instead of, or as well as, reinforcing them. Finally, the changing contexts that in turn changed (or re-focused) the meanings of these texts reveal the boundaries over and through which concepts of identity and community were negotiated.
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Kuntz, Emily Ciavarella. "Transformed Within, Transformed Without: The Enactment of Religious Conversion in Medieval and Early Modern European Saint Plays." Thesis, 2020. https://doi.org/10.7916/d8-k4t2-b552.

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My dissertation investigates the ways in which both medieval and early modern saint plays depict and incite religious conversion through self-aware theatrical techniques. In each of my chapters, I examine one or two popular saint plays from a given period and area (medieval England, medieval France, early modern Spain, and early modern England) and show how each play invites the audience to undergo a spiritual shift parallel to that of the saint protagonist. These playmakers harnessed the affective power and technology of theatrical performance to invite the audience to engage with performed religious conversion in a controlled, celebratory environment and to encourage them to convert toward a more deeply felt Christianity. The plays reconfigured the audience’s sensory and intellectual understanding of Christian theology in order for the audience to recognize spiritual truth within an inherently communal, participatory, and performative space. The plays I examine depend on the audience’s familiarity with theatrical culture and practice in order to distinguish between sincere and insincere religious performance. By making the process of conversion a theatrical performance onstage, these plays could advocate for the theatrical medium as a genuine and effective catalyst for spiritual renewal. In addition to joining the conversation on the nature and goals of early European theatre, my dissertation also argues for the continued intersection between performance studies and conversion studies, demonstrating the ways in which theatrical performance elucidates the ways in which communities can instigate and collectively feel conversion.
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Moyo, Arifani James. "Deconstructing the Native/Imagining the Post-Native: Race, Culture and Postmodern Conditions in Brett Bailey’s ‘plays of miracle and wonder’." Thesis, 2009. http://hdl.handle.net/10413/181.

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This dissertation combines African philosophical discourses with perspectives on cultural performativity to explore the theme of ‘deconstructing the native’ and ‘imagining the postnative’ through theatre. The dissertation consists of two main parts, a theoretical and a ‘practical’ section. The latter consists of ideas on how to translate the insights gained from the theory section into a strategy for making theatre. The theory section focuses on the aesthetically groundbreaking early works of South African theatre director Brett Bailey (Chapter 1), and their relevance to themes of African philosophy (Chapter 2). Using the concept of ‘engendering space’ as a point of contact between African discourse and theatre praxis, I show how Bailey’s theatre engendered a physical and metaphysical space in which to deconstruct the native and imagine the post-native. I consequently argue that Bailey’s aesthetic revolution has immense political and ethical consequences for contemporary African society. I imagine what these consequences are by deconstructing the cultural and moral discourse generated through critical and public responses to Bailey’s often controversial work. The practical section comprises an academically extended version of the professional theatre project proposal for my play, Hondo Love Story, which will be staged subsequent to this dissertation. The contents of the section include my strategy for engendering an aesthetic space similar, but not identical, to that of Bailey’s plays (Chapter 3). The similarities include aspects of form, theme and content, which I imagine may result in Hondo Love Story having a similar relevance to the theme of deconstructing the native and imagining the post-native through theatre. While I do not systematically deconstruct the play to fully elucidate this, I explain (Chapter 4) the more ‘intellectual’ aspects of content such as historical subtext and psycho-mythical narratives underlying story structure and characterisation. The complete script for the play is appended.
Thesis (M.A.) - University of KwaZulu-Natal, Pietermaritzburg, 2009.
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O'Connor, Lloyd Grant. "'Summoning the healing' : intercultural performance, immediacy, and historical and ritual dialectics in Brett Bailey's The plays of miracle and wonder (2003)." Thesis, 2006. http://hdl.handle.net/10413/1546.

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Books on the topic "Mysteries and miracle-plays Drama"

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Cooling, Margaret. Ten-minute miracle plays. Swindon: British and Foreign Bible Society, 1995.

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The mysteries. London: Faber and Faber, 1985.

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Tony, Harrison. The mysteries. London: Faber, 1985.

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Sahlins, Bernard. The mysteries--The Passion. Chicago: I.R. Dee, 1993.

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The mysteries--Creation. Chicago: I.R. Dee, 1992.

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Das Abendmahl im spätmittelalterlichen Drama: Eine Untersuchung der Darstellungsprinzipien der Abendmahlslehre in den englischen Mystery Cycles und ihren Vorlagen im Vergleich mit den französischen und den deutschsprachigen biblischen Spielen. Frankfurt am Main: P. Lang, 2000.

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Bellone, Luca. Moralitas Sancti Heustacii: Mistero provenzale. Milano, Italy: Ledizioni, 2013.

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Medieval drama. Indianapolis: Hackett, 2012.

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Traditions of medieval English drama. [Pittsburgh]: University of Pittsburg Press, 1987.

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Danner, Constance S. The staging and significance of selected Wakefield New Testament mystery plays. Ann Arbor, MI: University Microfilms International, 1987.

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Book chapters on the topic "Mysteries and miracle-plays Drama"

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Schramm, Jan-Melissa. "‘[T]o see the work of God / Achieved for others’." In Censorship and the Representation of the Sacred in Nineteenth-Century England, 87–122. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0003.

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Hone’s work exerted a profound influence over the nineteenth-century antiquarian and almanac traditions. Perhaps more importantly, his influence was also felt in the sacred dramatic literature of the period, with Lord Byron and Richard Carlile in particular expressing strong affinities with Hone’s radical politics and his appropriation of the plays as foundational to a demotic genealogy of blasphemy. Whilst Joanna Baillie, Richard Hengist Horne, Henry Hart Milman, and Digby Starkey also experimented with the form of the mysteries in the decades which followed Hone’s trials, they were compelled by law to position their work as closet drama, and even then their texts remained vulnerable to either prosecution for the common law offence of blasphemy or a denial of copyright protection from pirates as a consequence of their allegedly amoral tendencies. This chapter looks at a number of nineteenth-century sacred dramas to assess their contribution to political protest in their period.
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