The mediaeval stage, volume 2 (of 2)

Description

Sultane française au Maroc by Noël Amaudru is a historical study written in the early 20th century. The work explores how medieval Christian ritual generated a new form of theatre inside the Church, tracing the rise of liturgical plays around Easter and Christmas from simple chant dialogues to more elaborate staged ceremonies performed by clergy and choirboys. The opening of this study explains how, after the collapse of the Roman theatre, drama re-emerged within Christian worship through chant, symbolism, and processions, crystallizing first in the Easter dialogue known as the Quem quaeritis. It shows how this brief exchange evolved from an Introit trope into a staged Visitatio Sepulchri at Easter Matins, with detailed directions (notably from Ethelwold’s Regularis Concordia) for clergy playing angels and the Marys at the tomb, and describes the linked “Easter Sepulchre” rite and its many local variations. The text then outlines expansions—adding the apostles Peter and John, the appearance of the risen Christ to Mary Magdalene, the Victimae paschali sequence, laments, and even a spice-seller—alongside notes on costume, props, and placement in the service. It briefly surveys allied Easter pieces (the Emmaus play Peregrini, composite Easter offices, and early Passion laments) before turning to Christmas developments: the Shepherds at the crib, the Magi/Herod Star play, the Rachel lament, and the Prophets procession featuring biblical and classical witnesses (including Balaam and the ass, and Nebuchadnezzar). Throughout, it stresses that these are summaries of liturgical openings that grew into drama while interacting—sometimes tensely—with festive customs like the Feast of Fools. (This is an automatically generated summary.)

Subjects

• Theater -- History -- Medieval, 500-1500
• Drama, Medieval -- History and criticism
• PN