The regimen of performing before several different audiences each day sharpened their timing, a skill that was invaluable for radio.
Medieval Drama RATIONALE Thanks to the increasing availability and user-friendliness of documentary evidence, facsimiles, and medieval and modern-language editions, medieval drama is now widely anthologized and accessible.
But while anthologies and archival projects have forced dramatic texts into the mainstream of medieval studies, this foregrounding has come at a price: While much academic energy has been devoted to dismantling the late nineteenth- and early twentieth-century conception of medieval plays as precursors to Shakespeare, standard anthologies of early theatre continue to preserve the archaic, evolutionary understanding of medieval theatre as a by-product of church liturgy, thrust out of the cathedral doors and into the marketplace.
In addition to this damaging teleology, the ambitious and immensely useful REED project has effectively put blinders on current drama scholarship by prioritizing the drama of Corpus Christi and leaving unexplored the less-documented festivities that honored local saints, parish patrons, and a staggering number of feast days.
Working against these traditional limitations, I have organized my list thematically rather than chronologically and have not limited it to plays produced in England. Starting with two plays written in Anglo-Norman and probably performed in England as well as northern France, I will maintain this comparative thread as I read twelfth-century liturgical drama and saints' plays.
Rather than looking back to the liturgy, my list pushes into the long fifteenth century and beyond; instead of relying on convention and ending with Everyman or Mankind, I have concluded with the sixteenth-century Mons Passion.
Since I will be reading drama with an eye to devotion in my major orals field, my goal in this list is to read for dramaturgy and performance. Medieval theatrical texts are mere skeletons of the ephemeral and irrecoverable performances they record; while most considerations of staging cannot be more than speculative, this type of exploration can nevertheless reveal a great deal about how the plays looked and sounded, and what role the audience and surrounding cityscape may have played.It is one of the literary genres, which is an imitation of some action.
Drama is also a type of a play written for theater, television, radio, and film.
In simple words, a drama is a composition in verse or prose presenting a story in pantomime or dialogue. I am interested above all in Medieval Literature, i.e., Anglo-Saxon Poetry, English Drama with Morality Plays and many medieval works such as Beowulf, ChaucerÂ´s The Canterbury Tales or Sir Gawain and the Green Knight and King ArthurÂ´s legends.
Certain aspects of the drama can be used to support an interpretation of Faustus as a Renaissance hero and other aspects suggest he is a medieval hero. According to the medieval view of the universe, Man was placed in his position by God and should remain content with his station in life.
Finally, by plunging into medieval drama, we get to explore the carnivalesque world of popular literature on the eve of the Reformation.
We find ourselves laughing at Christ’s Crucifixion—and uncomfortably asking ourselves why. One such form of literature not too widely known about is that of the medieval morality plays. These plays were not aimed to entertain, but to teach morals and religion to the uneducated lower classes of people in medieval Europe.
Medieval Literary Drama Essay Examples. 3 total results. An Essay on Medieval Literary Drama. 2, words. 5 pages. An Introduction to the Literary Analysis of Medieval Literary Drama. 4, words.
10 pages. An Analysis of the Dialectic and Spectacle in the Harrowing of Hell, a Medieval Literary Drama.