Covers the period from the Fall of the Roman Empire until the European Renaissance. Circa 500AD to 1400AD. A time period called the Dark Ages. It is often referred to as the Dark Ages due to the economic regression and intellectual darkness that followed what what referred to as the light of Rome. Theatre in the Middle Ages This idea of lightness versus darkness is mostly due to the historians of the time. Writers who catalogues the middle ages were almost entirely Christian, and their metaphors of light and dark were a product of their religious education and upbringing. The era was not in fact void of genius or innovation. Theatre in the Middle Ages What did change greatly was the literary prowess of individuals within European society, and the city-state structure that had dominated most of Europe during Classical Antiquity. The classic texts of the Roman Empire were lost or isolated. The grand architecture and thriving cities of Rome, and Greece before that, were gone. Theatre in the Middle Ages It was a time of small, feuding segments of people. Lords of lands and subjects, engaged in constant battle with distant and not-so-distant neighbors to control small pockets of territory or resources. And at the heart of all was the rise of a new and powerful force - the Catholic Church. Theatre in the Middle Ages The Fall of the Roman Empire Mid 4th Century - Capital of the Empire moved from Rome to Byzantium by the Emperor Constantine. (Later Constantinople and then Istanbul, in Turkey) This is why this period sometimes refers to the Byzantine Empire. Outlying fortied cities began to crumble, under repeated attacks from Germanic Tribes and Barbarian Invasions. As the fortications fell, people abandoned the outlying territories and the population of the Empire shrank. Theatre in the Middle Ages The Fall of the Roman Empire Near the end of his life, Constantine converts to Christianity. He decrees that the religion is legal, and circa 380AD, it becomes the ofcial religion of the Empire. All Emperors following Constantine were Christian. The Catholic Church is established (Catholic meaning all-encompassing) and begins to gain power over the state and the Empire. Theatre in the Middle Ages The Fall of the Theatre The Empire, which had been Pagan mostly (worshipping Nature, several Gods & Deities) now takes a shift. In an attempt to eliminate all elements of the old ways, the Church begins to outlaw all forms of pagan celebration or communal events. Theatre was considered sinful, as it celebrated lewd conduct, dancing and other forms of ritual from the old ways. Wanting the control the dissemination of ideas, the Church also found in theatre a dangerous counterpart to its narrative for life and truth. Theatre in the Middle Ages The Survival of Theatre The only forms of theatre that continued were in individual performers or small bands of traveling artists. They were called MINSTRELS. They performed songs, poems, stories, dances, acrobatics or any other form of dramatic performance in exchange for food and/or lodging. They would juggle, perform magic tricks, tell stories and ballad of great and ancient battles. Anything to entertain. Theatre in the Middle Ages The Survival of Theatre The MINSTRELS were always easily recognisable, wearing brightly colored costumes and often riding a costumed horse or decorated caravan. They would travel from castle to castle, village to village, peddling a bit of buffoonery or wonder for a meal, a trade, a good nights sleep, or other necessary provisions. This practice was generally considered illegal in most of Europe, and was often punishable by death. This put the Minstrels in a peculiar quandary. They had to nd a way to draw attention to themselves in order to make a living, while keeping their performances secret, or at least entertaining enough for the local magistrates to turn a blind eye, or be swayed to applause rather than authority. Theatre in the Middle Ages The Survival of Theatre The Minstrel rarely dared stay in any one place more than a short time, for fear their acts would become stale, or their hides tossed in a jail. It was often a harsh and nomadic lifestyle. Some Minstrels, especially those who garnered favour from the King or other royalty would be lucky enough to be granted the position of court JESTER - assigned to provide entertainment for the heads of state and their court guests. While still not an easy life, the Jester could at least rely on a rooted home, and consistent work. Theatre in the Middle Ages 'Tis thou must have more partakers in store Before thou upstand me in deed, For I have a staff, he is made of ground gaffe And I warrant he'll do my deed. Aye, and I warrant he'll do my deed. And I have another, quoth bold Robin Hood, He's made of an oaken tree, He's eight foot and a half and would knock down a calf And why shouldn't a' knock down thee? Aye, and why shouldn't a' knock down thee? Let us measure our staves, says bold Robin Hood Before we begin and away, If by half a foot mine should be longer than thine Then that should be counted foul play. Aye, and that should be counted foul play. Then at it they went, for bang, for bang, The space of two hours or more. Every blow they swung makes the grove to ring And they play their game so sure. Aye, and they play their game so sure. Then bold Robin Hood drew forth bugle horn, And he blew it both loud and shrill, And direct thereupon he espied Little John Come running a-down the hill. Aye, come running a-down the hill. O what is the matter? then said Little John You are not doing well, he said. O, says bold Robin Hood, here's a tanner so good And I warrant he's tanned my hide. Aye, and I warrant he's tanned my hide. If he's such a tanner, then says Little John, A tanner that tans so true, We'll make-a no doubt but we'll have a fresh bout And I warrant he'll tan my hide too. Aye, and I warrant he'll tan my hide too. That thing shall not be, says Bold Robin Hood, For he is a hero so bold, For he has best play'd, he is master of his trade And by no man shall he be controll'd. Aye, and by no man shall he be controll'd. ROBIN HOOD & THE TANNER In Nottingham there lived a jolly tanner With a hey, down, down a down down His name was Arthur a Bland There is not a squire in Nottinghamshire Dare bid bold Arthur stand. And as he rode out in a summer's morning With a hey In the forest of merry Sherwood To view the red deer that range here and there, there met he with bold Robin Hood What a fellow art thou? quoth bold Robin Hood, And what is thy business here? For now, to be brief, thou dost look like a thief And I come for to steal the king's deer. Aye, come for to steal the king's deer No, I am the keeper of this parish The king hath a-put me in trust; And therefore I pray thee to get on thy way Or else to upstand thee I must. Aye, Or else to upstand thee I must. Theatre in the Middle Ages The Survival of Theatre Theatre in the Middle Ages The Survival of Theatre Another kind of traveling musician was called the TROUBADOUR. The troubadours composed and performed ancient lyric poetry, and often played instruments like their Minstrel counterparts. It was quite common to see a troubadour with a ddle on his shoulder, regaling a crowd with tales of chivalry and courtly love - the main topics covered by the troubadours poems. Their stories were metaphysical and formulaic, often playing out like a fable or fairy tale -whimsical and romantic, with a strong moral message inherent. The songs were sung in OCCITAN, an ancient form of French. Theatre in the Middle Ages Tant M!abelis Tant m'abelis jois et amors et chans ert alegrier deports e cortezia, que l'mon non a ricor ni manentia don mielhs d'aisso'm tengues per benonans doncs, sai ieu ben que midons ten las claus de totz los bes qu'ieu aten ni esper e ren d'aiso sens lieys non puesc aver. Sa gran valors e sos humils semblans son gen parlar e sa bella paria, m'an fait ancse voler senhoria plus que d'autra qu'ieu vis pueys ni dabans; e si'l sieu cors amoros e suaus e sa merce no'm denha retener, ja d'als amors no'm pot far mon plazer. So Much I Love So much I love joy and love and song, mirth, sport and courtesy, that in the world there is no wealth nor riches that could make me feel happier. Therefore I know well that my lady holds the keys of all the good that I expect and hope for, and none of this can I have without her. Her great courage and her modest look, her gentle speech and her fair company have made me always love her dominion more than any other's I have seen before or since; and if her loving and tender heart deigns not to keep me under her mercy, love cannot please me with anything else. Theatre in the Middle Ages The Survival of Theatre As the Middle Ages progressed (into what was called the high Middle Ages), the position of Minstrel expanded. Many unemployed, incorrigible or criminal citizens saw Minstrel performance as an easy way to make a quick living, or as a perfect rouse to burgle or swindle a crowd or a family. In order to protect the integrity of their profession, the Minstrels began forming GUILDS, much like the tradesmen of their times. These guilds, recognised by the King, issued licenses for performance, ensuring that the Minstrel in question had been juried, and containing a kind of oath that guaranteed no nefarious motives. These early guilds not only helped to legitimise the profession, but also set the basis for the actors and musicians unions we now engage around the world. Theatre in the Middle Ages The Survival of Theatre Eventually, the Church realised that Aristotle was right - the performing arts were the purest of human arts, and could never be truly quashed. So, they decided instead to harness the power of theatre, and they developed their own forms of performance. Almost all masses, rituals and religious texts were in Latin. Since most of the population were illiterate at this time, the Church saw public performance and entertainment as a way to reach the masses and further their indoctrination. The Church began to perform plays in order to interpret and describe Bible stories for the congregations and to aid in their expanding proselytizing. Theatre in the Middle Ages The Survival of Theatre Passion plays, the retelling or reenactment of specic Bible Stories (such as the story of Job), performances of the Gospels or Stations of the Cross were the early forms of theatres reestablishment in this period. The Church had to review and approve all performances before granting permission. Performances took place outside of the churches in town squares. The plays were required to have a religious message or Bible Story. Theatre in the Middle Ages The Survival of Theatre CYCLE PLAYS - These were plays based on monumental events in the life of Christ. BIBLE STORIES - Acting out of stories from both the Old and New Testaments. MORALITY PLAYS - Plays that had a religious undertone, and taught lessons of right and wrong. Morality Plays used ALLEGORY in order to show their lessons and religious messages. ALLEGORY is the use of symbols or metaphor in order to present or represent a rhetorical argument, idea or theme. Theatre in the Middle Ages The Survival of Theatre The most famous surviving Morality Play from this era is EVERYMAN. Written in the mid 15th Century. An allegorical play about a life of worship, and the impending mortality we all face.