Medieval Theatre in Europe

1. Medieval Theatre in Europe

2. Medieval Theatre in Europe Timeframe � covers the period from the fall of Rome in the 5th century to the middle of the 16th century. 1350-1550 � the greatest development of theatre Most medieval theatre is religious in nature

3. European Society 3 social levels * the Clergy of the Roman Catholic Church - responsible for spiritual salvation of the masses and education of the feudal lords * the Feudal Lords - controlled the land and protected the serfs * the serfs ( peasants) � raised the crops and animals; paid taxes and served in the military when needed.

4. European Society 2 During the High Middle Ages (1000-1450) the emergence of towns as centers of trade and culture led to guilds, tradesmen and the gradual end of feudalism. Catholic monasteries became the centers of learning, and many later developed into university.

5. Theatre in the Dark Ages (500-1000 AD) During the period the only professional entertainment came from the traveling performers, the precursors of Commedia Dell�Arte in France and Italy and today�s circuses. Jugglers, acrobats, mimes, clowns, troubadours and puppeteers traveled from town to town in small groups; performed in taverns for the commoners. Festival activities were also a source of entertainment for the masses. There were many opportunities for small scale performing during these festivals.

6. Liturgical Drama (925 A.D.) It is important to note that the Roman Catholic Church, credited with the death of classical theatre at the start of the middle ages, was also responsible for the rebirth of theatre in the 10th century A.D. Religious rites contained theatrical elements, and priests began using these elements during masses. These first short plays were called tropes. Liturgical dramas were written in Latin and performed by the clergy during church services.

7. Religious Vernacular Drama (1350-1550 A.D.) Vernacular - everyday speech. Roman Catholic clergy switched from Latin to the languages of the people they served. As these new plays became more elaborate, they were moved outside the church. Plays also involved more actors, so commoners were used as amateur performers.

8. The Vernacular Religious Plays Performed in cycles Aimed to teach or reinforce Church doctrine Melodramatic - the good-rewarded, the evil-punished God and his plan were the driving forces, not the characters 3 kinds of religious plays * Mystery plays - about Christ or from the Old Testament; usually done in cycles (i.e. Second Shepherds� Play). * Miracle plays - lives of saints, historical and legendary * Morality plays - didactic allegories, often of common man�s struggle for salvation (i.e. Everyman)

9. Mystery (Cycle) Plays 1 Mystery Plays dramatized a series (or cycle) of biblical stories from the creation of the earth to the last judgment. They were staged outdoors in the Spring or Summer during daylight hours. The most popular adaptations highlighted the spectacular nature of biblical stories. Comedy was also an important element. While trade guilds and the church were both involved in organizing the productions, the performers were amateurs. In France, women were allowed to act in the plays. In England they could not. Actors had few rehearsals (4-5), but agreed under oath to perform and were fined for missing rehearsals. It was seen as a religious duty.

10. Mystery (Cycle) Plays 2 Cycles were performed every 2-10 years. Some became huge spectacles. �The Acts of the Apostles� performed at Bourges, France in 1536 lasted 40 days and involved over 300 performers. Pageant Masters were hired to oversee the production. This is the first example of paid directors in the theatre. In England, the guilds were heavily involved in the production of these plays. Plays were assigned to the most appropriate guilds. Bakers would perform �The Last Supper�. Shipbuilders or barrelmakers, �The Flood�. Goldsmiths, �The Gift of the Magi�. These became opportunities to compete among the guilds and advertise skills.

11. Miracle (Saint) Plays These plays were similar to the mystery plays in dramatic technique. Instead of telling bible stories, they were based on the lives of the Roman Catholic saints. (In order to become a saint in Roman Catholic theology, a person had to be documented performing three miracles.) The most popular subjects were the Virgin Mary, St. Nicholas and St. George.

12. Staging the Cycle Plays Processional Staging Pageant wagons would travel a set route, and the play would be performed at various locations. (Similar to today�s parades) There are different theories as to what kinds of wagons were used and how this was done. Stationary Staging A series of mansions or stages would be set up in the town square, anchored at either end by heaven and hell. Special effects like flying, floods and fiery pits (called secrets), were very popular and often quite elaborate.

13. Morality Plays These plays teach a moral lesson through the use of allegorical characters. In allegory, characters represent concepts or ideas. One person might play the part of Greed, another the part of Honesty. The main character usually makes a journey of discovery, ending with the learning of the moral lesson. In the creation of morality plays, we see a switch in emphasis from religious characters such as prophets and saints to common people such as Everyman. Even though the subject matter is still religious, the protagonist becomes the average man. This is in keeping with the Renaissance philosophy of the importance of man�s free will. These plays are the first to use professional actors, setting up the theatre of Shakespeare and Moliere.

14. Secular Interludes and Farces These plays combined elements of morality plays, classical drama and other comic devices. Interludes were short plays performed between courses at banquets. Farces were full-length plays which presented a moral lesson by ridiculing human follies like greed or dishonesty.

15. Technical Developments Theatre was performed in found spaces such as churches, town squares, courtyards and banquet halls. There were no professional theatres. Intimate Theatre was the rule, with audience standing very close to the performers (sometimes on all sides). Special effects were very popular and often elaborate. Costumes and makeup were important elements for characterization.

16. CONCLUSION The rebirth of theatre in the middle ages demonstrates a very important lesson about humanity: �Whenever a society is sufficiently developed to allow its members freedoms of time and expression, the celebration of theatre will be an important way to explore and expand those freedoms.�