Relevant bibliographies by topics / Mystery plays

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Mystery plays'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mystery plays"

1

Atkinson, David. "Review: Play: The Northern Mystery Plays." Cahiers Élisabéthains: A Journal of English Renaissance Studies 36, no. 1 (October 1989): 98–101. http://dx.doi.org/10.1177/018476788903600125.

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Warnicke, Retha M. "More'sRichard IIIand the mystery plays." Historical Journal 35, no. 4 (December 1992): 761–78. http://dx.doi.org/10.1017/s0018246x00026157.

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AbstractAn analysis of Thomas Mare's English version ofThe history of King Richard IIIindicates that the popular mystery cycles influenced his composition. Associated with the celebrations of Corpus Christi Day, the cycles present a series of biblical plays, beginning with the Creation and ending with the Last Judgment. The important themes of tyranny and sacrifice, which this drama explores, also loom large inRichard III. The theme of tyranny is loosely related in the cycles through Lucifer's functioning as the prototype of all earthly tyrants, including More'sRichard III. Evidence of the sacrifice, which is at the heart of the mass, can also be found in many biblical scenes. More's reference to Richard's adolescent nephews as ‘innocent babes’ links them to the infants Herod earlier sacrified to his ambitions. Indeed, inRichard III, More does make an intriguing reference to a cobbler performing the role of a ‘sowdayne’ in a play. The suggestion that this drama influenced More's writing is consistent with the speculation that he composed the English version first and then, with the classics in mind, wrote out a separate Latin text, for the two versions have significant differences in imagery, word choice and structure.
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Ireland, John. "Freedom as Passion: Sartre's Mystery Plays." Theatre Journal 50, no. 3 (1998): 335–48. http://dx.doi.org/10.1353/tj.1998.0085.

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Guynn, N. D. "Saints at Play: The Performance Features of French Hagiographic Mystery Plays." French Studies 67, no. 4 (September 27, 2013): 543–44. http://dx.doi.org/10.1093/fs/knt216.

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Mazouer, Charles. "Marguerite de Navarre et le mystère médiéval." Renaissance and Reformation 38, no. 4 (January 1, 2002): 51–64. http://dx.doi.org/10.33137/rr.v38i4.8838.

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This article examines the relationship between Marguerite de Navarre’s biblical plays and the genre of the fifteenth- and sixteenth-century medieval mystery play by focusing on three dramatic elements: staging, characters, and language. While, with respect to staging, Marguerite recaptures the structure of the mystery play, she takes less interest in the representation of the movements of the characters and in the realistic scenes, which were central to this medieval genre; as she reduces the dramatic events and their dynamics, she concedes little to the performance, privileging hearing over seeing. Regarding the characters, Marguerite also moves away from the conventions of the mystery play, according to which characters were endowed with familiar, concrete, human traits. Except for a few conspicuous cases, the queen of Navarre shows a preference for symbolic, abstract entities, or for human characters so disembodied that their faith or holiness takes them away from the human world and closer to the heavens. As for the language of her plays, Marguerite creates a poetic rhythm that almost depletes the life and suppleness of the dialogue. Thus the vivacity of the verbal exchanges is transcended to the advantage of other styles that are less suited to the genre of theater, with the exception of the sermon and spiritual lyricism. In conclusion, Marguerite, in her four biblical plays, undermines the medieval form of the mystery play, which, however, she also recaptures.
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Crispin, P. "The York Mystery Plays: Performance in the City." English 64, no. 244 (October 29, 2014): 69–70. http://dx.doi.org/10.1093/english/efu029.

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ARONSON-LEHAVI, SHARON. "‘The End’: Mythical Futures in Avant-Garde Mystery Plays." Theatre Research International 34, no. 2 (July 2009): 116–23. http://dx.doi.org/10.1017/s0307883309004441.

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Biblical theatre re/presents, images and imagines the future. This is because the ultimate future, the End of Days, is a part of its narrative. The paradigmatic example is medieval mystery plays that present the world ‘from creation to doom’, and which end in the futuristic episode of the Last Judgment. In this essay I examine theatrical and performative mechanisms of performing the future/End in what I term modern mysteries, which are contemporary avant-garde performances of the biblical texts. These performances simultaneously rely on and open up anew scriptural texts to create a powerful, modern experience. I identify three models of ‘the End’ in modern mysteries that are related to social and political issues: merger and utopia; descent, disappearance and apocalypse; and a cyclical, bi-directional movement towards both utopia and dystopia.
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Grimes, Ronald L. "Ritual in the Toronto Towneley Cycle of Mystery Plays." Studies in Religion/Sciences Religieuses 16, no. 4 (December 1987): 473–80. http://dx.doi.org/10.1177/000842988701600409.

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Cox, John D. "The Devil and Society in the English Mystery Plays." Comparative Drama 28, no. 4 (1994): 407–38. http://dx.doi.org/10.1353/cdr.1994.0050.

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Wrigley, Amanda. "The Spaces of Medieval Mystery Plays on British Television." Shakespeare Bulletin 33, no. 4 (2015): 569–93. http://dx.doi.org/10.1353/shb.2015.0058.

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Dissertations / Theses on the topic "Mystery plays"

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Lopez, Mariana Julieta. "Hearing the York Mystery Plays : acoustics, staging and performance." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5082/.

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The study of medieval acoustics has been centred on places of worship, leaving aside sites used for secular drama. This thesis explores the importance of integrating medieval drama into the historiography of the acoustics of performances spaces through the study of the York Mystery Plays. The York Mystery Plays were performed regularly from the late fourteenth century up to 1569 and have been the subject of numerous research studies. However, the consideration of the acoustics of the performance spaces as an essential means of gaining a further understanding of the staging and performance of the plays has, for the most part, been absent from previous studies. This thesis uses virtual acoustics to study Stonegate, one of the performance sites used in medieval times. To apply virtual acoustics to the study of the plays acoustic measurements of Stonegate are conducted and analysed through room acoustic parameters. A virtual model of the same space is then simulated and calibrated using the on-site measurements as a reference and its accuracy is also checked through listening tests. The virtual model of modern Stonegate is then modified in order to create different simulations of the site in the sixteenth century, which are then used to test different staging hypotheses developed by early drama scholars. The acoustics of Stonegate are shown to have been suitable for the spoken extracts of the plays, due to its low reverberation time and high clarity. However, these characteristics are more challenging for the performance of music. Nevertheless, research has shown that the resulting spatial impression is comparable to that associated with music performances in concert halls. Furthermore, future research of the acoustics of other medieval sites in York may help to further the understanding of how the performances spaces and the plays were experienced.
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Gutierrez, Christina Lynn. "Staging God's "ply": Translating the York mystery plays for (post)modern audiences." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446087.

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Smith, James Kenneth. "Contemporary performances of medieval mystery plays: The effect of mentalities on performance." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/291959.

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This thesis examines contemporary British productions of medieval mystery plays, specifically questioning how cultural mentality affects such productions. Because of the distance between the medieval and contemporary British mentalities, a cultural gap exists between original texts and contemporary productions. This gap creates, for audiences, a "double vision," a perception of both the medieval mentality that informed the original text and the contemporary mentality that performs it. Contemporary productions tend to attempt to diminish this inherent "double vision" in a variety of ways, including making the production authentic to medieval practice or by adapting the medieval texts. This thesis analyzes two contemporary productions of medieval mystery plays, the 1998 revival of the York Mysteries, directed by Jane Oakshott, and The Mysteries, a contemporary adaptation of several medieval cycles, written by Tony Harrison and directed by Bill Bryden, exploring the methods used by both to tackle the mentality gap.
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Forest-Hill, Lynn Elizabeth. "Transgressive language in medieval English drama : signs of challenge and change." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242389.

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Black, Daisy Emma. "Mind the gap : time, gender and conflict in the late medieval Mystery Plays." Thesis, University of Manchester, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603244.

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This thesis explores the relationship between time, gender and moments of conflict in the Mystery Plays. Examining a range of encounters between male and female characters in the plays, I propose that characters’ differing and subjective experiences of time are often at the heart of their conflict. Time, moreover, provides a new methodology with which to understand the ways in which both gender and narrative operate within the plays. In doing so, I chart a number of conflicts staged between characters in plays concerned with biblical narratives which signify transition or rupture: the Incarnation; the Flood; and the slaughter of the Bethlehem Innocents. Engaging with established critical approaches towards medieval models of supersession and typology, as well as recent works in the field of Jewish Studies concerning the medieval Christian preoccupation with what it asserted was a superseded, yet nevertheless ‘present’ Jewish past, I interrogate the ways in which such models are subverted when placed into dialogue with characters whose world-view supports alternative readings of time. First, I provide a reading of Joseph’s age and error in the N-Town Joseph’s Doubt as a meeting of ‘Old’ and ‘New’ theologies. I argue that Joseph’s journey from disbelief in Mary’s virgin pregnancy to eventual acceptance performs as a primarily linear conversion narrative, whilst also proposing that, as a medieval performance of a New Testament time, the N-Town Marian plays’ engagements with multiple levels of time work to complicate models of temporal, supersessionary linearity. I then examine Noah and his wife in the Chester and York Flood plays as participating in very different understandings of time from each other. While Noah adheres to a supersessionary understanding of the Flood which demands a full erasure of the past in order to begin the world anew, his Wife engages with temporal models that promote collapse between medieval and Old Testament times and command the explosive ability to performatively recall the past into the present. Finally, I engage with Serres’ model of topological time in examining the highly complex, multi-linked times operating in the Towneley play Herod the Great. Here, I examine how the play amplifies the ways in which its biblical sources work to bring together events from the Old and New Testaments in processes of prophecy and validation, whilst also asking whether characters such as Herod and the mothers defending their children from him may be said to command agency over their time. In bringing together theories of time, gender, antisemitism and periodization, I not only nuance the ways in which moments of conflict between the mystery plays’ male and female biblical characters are analysed, but also highlight the complex ways in which the late medieval producers and audiences of the mystery plays were themselves encouraged to question, experience, read and understand time.
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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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Pocock, Stephanie J. Russell Richard Rankin. "Between reality and mystery : food as fact and symbol in plays by Ibsen and Churchill /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4875.

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Einmahl, Christiane [Verfasser], Ursula [Gutachter] Schaefer, Holger [Gutachter] Kuße, and Andrew James [Gutachter] Johnston. "Orality in Medieval Drama : Speech-Like Features in the Middle English Comic Mystery Plays / Christiane Einmahl ; Gutachter: Ursula Schaefer, Holger Kuße, Andrew James Johnston." Dresden : Technische Universität Dresden, 2020. http://d-nb.info/122720177X/34.

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Robinson, Arabella Mary Milbank. "Love and drede : religious fear in Middle English." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/280671.

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Several earlier generations of historians described the later Middle Ages as an 'age of fear'. This account was especially applied to accounts of the presumed mentality of the later medieval layperson, seen as at the mercy of the currents of plague, violence and dramatic social, economic and political change and, above all, a religiosity characterised as primitive or even pathological. This 'great fear theory' remains influential in public perception. However, recent scholarship has done much to restitute a more positive, affective, incarnational and even soteriologically optimistic late-medieval vernacular piety. Nevertheless, perhaps due to the positive and recuperative approach of this scholarship, it did not attend to the treatment of fear in devotional and literary texts of the period. This thesis responds to this gap in current scholarship, and the continued pull of this account of later-medieval piety, by building an account of fear's place in the rich vernacular theology available in the Middle English of the fourteenth and fifteenth centuries. It takes as its starting point accounts of the role of fear in religious experience, devotion and practice within vernacular and lay contexts, as opposed to texts written by and for clerical audiences. The account of drede in Middle English strikingly integrates humbler aspects of fear into the relationship to God. The theological and indeed material circumstances of the later fourteenth century may have intensified fear's role: this thesis suggests that they also fostered an intensified engagement with the inherited tradition, generating fresh theological accounts of the place of fear. Chapter One begins with a triad of broadly pastoral texts which might be seen to disseminate a top-down agenda but which, this analysis discovers, articulate diverse ways in which the humble place of fear is elevated as part of a vernacular agenda. Here love and fear are always seen in a complex, varying dialectic or symbiosis. Chapter Two explores how this reaches a particular apex in the foundational and final place of fear in Julian of Norwich's Revelations, and is not incompatible even with her celebratedly 'optimistic' theology. Chapter Three turns to a more broadly accessed generic context, that of later medieval cycle drama, to engage in readings of Christ's Gethsemane fear in the 'Agony in the Garden' episodes. The N-Town, Chester, Towneley and York plays articulate complex and variant theological ideas about Christ's fearful affectivity as a site of imitation and participation for the medieval layperson. Chapter Four is a reading of Piers Plowman that argues a right fear is essential to Langland's espousal of a poetics of crisis and a crucial element in the questing corrective he applies to self and society. It executes new readings of key episodes in the poem, including the Prologue, Pardon, Crucifixion and the final apocalyptic passus, in the light of its theology of fear.
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Allison, Christine. "The Cornish mediaeval mystery play cycle : as performance art and in history." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390129.

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Books on the topic "Mystery plays"

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King, Pamela. 'Coventry mystery plays'. [Coventry]: Coventry Branch of the Historical Association, 1997.

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Aguirre-Sacasa, Roberto. The mystery plays. New York: Dramatists Play Service, 2005.

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Steiner, Rudolf. The four mystery plays. London: Rudolf Steiner Press, 1997.

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Duckworth, Alice. Mystery plays: on the air. Franklin, OH (P.O. Drawer 216, Franklin 45005): Eldridge Pub., 1992.

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J, Pearson Elizabeth, ed. Seven plays of mystery & suspense. Englewood Cliffs, N.J: Globe Book Co., 1992.

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Crang plays the Ace: A mystery. Toronto: Seal Books, 1988.

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Hardwick, Michael. Four Sherlock Holmes plays: One-act plays. London: J. Murray, 1987.

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Writing and staging mystery and adventure plays. Chicago, Illinois: Heinemann Raintree, a Capstone imprint, 2016.

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Burton, Brian J. Final edition: A one-act mystery. Droitwich: Hanbury Plays, 1997.

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Saints at play: The performance features of French hagiographic mystery plays. Kalamazoo: Medieval Institute Publications, Western Michigan University, 2012.

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Book chapters on the topic "Mystery plays"

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Richardson, Christine, and Jackie Johnston. "Mystery Plays." In Medieval Drama, 13–28. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21180-7_2.

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King, Pamela. "York Mystery Plays." In A Companion to Medieval English Literature and Culture c.1350-c.1500, 489–506. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996355.ch30.

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Twycross, Meg. "‘Transvestism’ in the Mystery Plays." In The Materials of Early Theatre: Sources, Images, and Performance, edited by Sarah Carpenter and Pamela King, 185–236. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Variorum collected studies series: Routledge, 2017. http://dx.doi.org/10.4324/9781315123004-8.

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Rose, Martial. "Robing and Its Significance in English Mystery Plays." In Robes and Honor, 333–52. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-349-61845-3_16.

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Oakshott, Jane. "York Guilds’ Mystery Plays 1998: the rebuilding of dramatic community." In Medieval Texts and Cultures of Northern Europe, 270–89. Turnhout: Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.tcne-eb.3.4830.

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Smith, Jadwiga. "Paul Ricoeur’s The Symbolism of Evil and the Problem of Evil in Marston’s Antonio Plays." In Mystery in its Passions: Literary Explorations, 237–44. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-94-007-1017-7_16.

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Weigert, Laura. "‘Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting." In Theatricality in Early Modern Art and Architecture, 24–35. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396744.ch2.

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Lopez, Mariana. "The York Mystery Plays: Exploring Sound and Hearing in Medieval Vernacular Drama." In Sensory Perception in the Medieval West, 53–73. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.usml-eb.5.109504.

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Quinn, William A. "The Chosen and the Chastised: Naming Jews in the York Mystery Plays." In Jews in Medieval England, 141–56. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63748-8_9.

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Twycross, Meg. "‘With what Body Shall they Come?’: Black and White Souls in the English Mystery Plays." In The Materials of Early Theatre: Sources, Images, and Performance, edited by Sarah Carpenter and Pamela King, 281–97. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Variorum collected studies series: Routledge, 2017. http://dx.doi.org/10.4324/9781315123004-10.

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Conference papers on the topic "Mystery plays"

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Irina, Klimova. "Gesture in German Mystery Play in the Late Middle Ages: to the Problem of Studying." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.062.

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van Dam, Loes C. J., Abigail L. M. Webb, Liam D. B. Jarvis, Paul B. Hibbard, and Matthew Linley. "“The Mystery of the Raddlesham Mumps”: a Case Study for Combined Storytelling in a Theatre Play and Virtual Reality." In 2020 International Conference on 3D Immersion (IC3D). IEEE, 2020. http://dx.doi.org/10.1109/ic3d51119.2020.9376391.

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