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Theatre in the Middle Ages

Theatre in the Middle Ages


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.

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