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This volume offers 22 of the central pageants which make up York's famous Corpus Christi cycle. The York cycle is the oldest and best-known of the English mystery cycles, and its depth and scope are reflected in the selection printed here. The shape of the cycle was governed by subject matter of enduring spiritual significance, both to its contemporary audience and in later literary and artistic tradition, and the selection reflects these concerns. Included are plays on the Creation, the Fall of Man, the Incarnation, Passion, and Resurrection of Christ, and the Last Judgement. The Passion sequence has been expanded by six of the eight plays generally attributed to the great poetic dramatist known as the York Realist: the authentic text of these plays is not otherwise available in paperback. As well as providing detailed annotation, this edition offers an introduction which examines the history of the cycle and discusses the immensely popular modern productions in York and elsewhere. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This volume offers 22 of the central pageants which make up York's famous Corpus Christi cycle. The York cycle is the oldest and best-known of the English mystery cycles, and its depth and scope are reflected in the selection printed here. The shape of the cycle was governed by subjectmatter of enduring spiritual significance, both to its contemporary audience and in later literary and artistic tradition, and the selection reflects these concerns. Included are plays on the Creation, the Fall of Man, the Incarnation, Passion, and Resurrection of Christ, and the Last Judgement.The Passion sequence has been expanded by six of the eight plays generally attributed to the great poetic dramatist known as the York Realist: the authentic text of these plays is not otherwise available in paperback. As well as providing detailed annotation, this edition offers an introductionwhich examines the history of the cycle and discusses the immensely popular modern productions in York and elsewhere.
Essays on the York Mystery Plays, uniting voices from the scholarly world with the York community that has assumed responsibility for their production today. The York Play of Corpus Christi, also known as the York Cycle, has been central to the study of early English theatre for over a century and a touchstone for the revival of medieval dramatic practice for over fifty years. But these two endeavours... have often found little common ground. This volume therefore accomplishes something very important. It brings together scholars of medieval English drama and places them in dialogue with experienced practtitioners from the community. Together, they share a common commitment to understanding how performances matter to the communities that produce them, and how plays intersect with other public activities. CAROL SYMES, Professor of History, University of Illinois at Urbana. This volume provides a wealth of new insights into the performance of mystery plays in medieval York and their modern revival. It utilises both academic study, and the practical experience of those who now produce the cycle within York itself on wagons in the street, in an approximation of their original performance. A number of topics are covered. The manuscript is linked to Richard III; the Masons are introduced as non-guildsmen in an enterprise assumed to be guild-specific; families, not just male heads of households, are shown to be important to the dramatic narrative; and cognitive theory elucidates performance past and present.Recent productions are discussed in lively detail by those directly responsible for them, leading to analyses of performances in Israel, Spain, and Australia, not all of them of a predictable kind, which offer further angles on the medieval dramatic tradition. Professor Margaret Rogerson teaches in the Department of English at the University of Sydney. Contributors: Margaret Rogerson, Keith Jones, Richard Beadle, Sheila K. Christie,Mike Tyler, Jill Stevenson, Elenid Davies, Ben Pugh, Peter Brown, Tony Wright, Steve Bielby, Emma Cunningham, Alan Heaven, Linda Ali, Paul Toy, Gweno Williams, John Merrylees, David Richmond, Alexandra F. Johnston, Sharon Aronson-Lehavi, Pamela M. King
The complete cycle of thirty-two plays.
In Signifying God, Sarah Beckwith explores the most lavish, long-lasting, and complex form of collective theatrical enterprise in English history: the York Corpus Christi plays. First staged as early as 1376, the plays were performed annually until the late 1500s and involved as much as a tenth of the city in multiple performances at a dozen or more locations. Introducing a radical new understanding of these plays as "sacramental theater," Beckwith shows how organizing the plays served as a political mechanism for regulating labor, and how theater and sacrament combined in them to do important theological work. She argues, for instance, that the theology of Corpus Christi in the resurrection plays can only be understood as a theatrical exploration of eucharistic absence and presence. Beckwith frames her study with discussions of twentieth-century manifestations of sacramental theater in Barry Unsworth's novel Morality Play and Denys Arcand's film Jesus of Montreal, and the connections between contemporary revivals of the York Corpus Christi plays and England's heritage culture.
THE STORY: The most controversial and talked about play of the 1998 theatrical season begins: We are going to tell you an old and familiar story. But from that point on, nothing feels quite familiar again. What follows is a story that parallels t
Conceptualizing the curse as the representation of a foundational, mythical violence that is embedded within juridical discourse, Shakespeare’s Curse pursues a reading of Richard III, King John, and King Lear in order to analyse the persistence of imprecations in the discourses of modernity. Shakespeare wrote during a period that was transformative in the development of juridical thinking. However, taking up the relationship between theatre, theology and law, Bjoern Quiring argues that the curse was not eliminated from legal discourses during this modernization of jurisprudence; rather, it persisted and to this day continues to haunt numerous speech acts. Drawing on the work of Derrida, Lacan, Walter Benjamin and Giorgio Agamben, among others, Quiring analyses the performativity of the curse, and tracks its power through the juristic themes that are pursued within Shakespeare’s plays – such as sovereignty, legitimacy, succession, obligation, exception, and natural law. Thus, this book provides an original and important insight into early modern legal developments, as well as a fresh perspective on some of Shakespeare’s best-known works. A fascinating interdisciplinary study, this book will interest students and scholars of Law, Literature, and History.
Everyman and Mankind are morality plays which mark the turn of the medieval period to the early modern, with their focus on the individual. Everyman follows a man's journey towards death and his efforts to secure himself a life thereafter, whilst Mankind shows a man battling with temptation and sin, often with great humour. Both texts are modernised here and edited to the highest standards of scholarship, with full on-page commentaries giving the depth of information and insight associated with all Arden editions. The comprehensive, illustrated introduction argues that the plays signal the birth of the early modern consciousness and puts them in their historic and religious contexts. An account is also given of the staging and performance history of the plays and their critical history and significance. With a wealth of helpful and incisive commentary this is the finest edition of the plays available.
This study argues that late medieval English 'mystery plays' were about masculinity as much as Christian theology, modes of devotion, or civic self-consciousness. Performed repeatedly by generations of merchants and craftsmen, these Biblical plays produced fantasies and anxieties of middle class, urban masculinity, many of which are familiar today.