Bøger af Elisabeth Dutton

Drawing together well-known and less familiar works from English and German writers, and focusing on references to clothing, Dutton and Kirakosian argue for important connections between medieval visions and medieval plays. These connections may be, initially, surprising, given the social nature of theatre that contrasts with the intensely personal and subjective nature of the visionary experience. While an audience provides collective witness to a play, the visionary, almost by definition, sees something that others do not: the visionary makes an audience of one for a drama presented - at least according to the believer - by God. By contrast, in the visionary text the visionary seeks to re-present her vision, in literary form, for a wider audience of readers, and to stir their belief in it. Reading across genres and languages, with particular attention on writing by women and on the figure of Mary Magdalen, the authors explore the dynamic power of clothing as a catalyst for imaginative processes in writers, readers and spectators alike.

Essays on the performance of drama from the Middle Ages, ranging from the well-known cycles of York to matter from Iran.Medieval English Theatre is the premier journal in early theatre studies. Its name belies its wide range of interest: it publishes articles on theatre and pageantry from across the British Isles up to the opening of the London playhouses and the suppression of the civic mystery cycles, and also includes contributions on European and Latin drama, together with analyses of modern survivals or equivalents, and of research productions of medieval plays. Theatrical performance is central to the groups and communities discussed in this volume, and to their particular and local expressions of faith. The articles presented explore the drama of a variety of different communities from religious orders and houses, through local, medieval and post-medieval lay communities, to contemporary worshippers. Contributors examine complex relationships between theatrical performance and faith, understanding religious theatre as a mode of worship and a method of exploring belief, as well as a site for the study of synchronous and asynchronous connections and fractures within communities. Particular topics addressed include the fragments of play-scripts surviving from the monastery at Mont-St-Michel; the Barking Abbey Easter celebrations; and how the sixteenth-century community which owned the surviving copy of the Towneley plays might have understood them in relation to their own faith. The volume is completed with an exploration of traditional Iranian religious theatre from an ethnographic perspective, in a bid to uncover and understand its very particular effects on the contemporary communities who perform and attend it in the twenty-first century.ELISABETH DUTTON and OLIVA ROBINSON run the Medieval Convent Drama project, based at the University of Fribourg and funded by the Swiss National Science Foundation, which provides the impetus for this special issue of Medieval English Theatre. Contributors: Aurelie Blanc, Eleanor Lucy Deacon, George Gandy, Camille Marshall, James Stokes

New essays demonstrate Gower's mastery of the three languages of medieval England, and provide a thorough exploration of the voices he used and the discourses in which he participated.

Essays on the performance of drama from the middle ages, ranging from the well-known cycles of York to matter from Iran.Medieval English Theatre is the premier journal in early theatre studies. Its name belies its wide range of interest: it publishes articles on theatre and pageantry from across the British Isles up to the opening of the London playhouses and the suppression of the civic mystery cycles, and also includes contributions on European and Latin drama, together with analyses of modern survivals or equivalents, and of research productions of medieval plays. The articles here focus on civic theatre and display. Chester, York, Durham and Newcastle, and London. Practicalities are to the fore: what the Drawers of Dee actually did, how the actors in the York Corpus Christi Play knewwhat time it was, the difficulties presented to London pageantry by unauthorised house-extensions and horse-droppings. Even the stately entertainments of a royal tour by James VI & I featured (in Newcastle, of course) negotiationover the monopoly on coal disguised as a historical event in a play about King Alfred and Canute. Ranging further afield is an introduction to the living tradition of Iranian mystery plays, whose history and development have somethought-provoking parallels with those of medieval waggon plays in the West. Finally, the director and producer discuss their 2019 production of John Redford's Wit and Science by Edward's Boys, the first to be played by aboys' company since the sixteenth century. Contributors: Philip Butterworth, Mark Chambers, E. Lucy Deacon, Elisabeth Dutton, Ernst Gerhardt, Gaspar Jackovac, Perry Mills, Meg Twycross.

Essays on aspects of early drama.Medieval English Theatre is the premier journal in early theatre studies. Its name belies its wide range of interest: it publishes articles on theatre and pageantry from across the British Isles up to the opening of the London playhouses and the suppression of the civic mystery cycles, and also includes contributions on European and Latin drama, together with analyses of modern survivals or equivalents, and of research productions of medieval plays. The articles in this fortieth volume engage with the key communities for early theatre: royalty, city and household, and religious institutions. Topics include the Royal Entry of Elizabeth Woodville into Norwich (1469); Henry VIII's Robin Hood entertainment for Catherine of Aragon; the sun's contribution to stage effects in the York Corpus Christi Play: the engagement with local worthies in Mankind; and the convent drama of Huy, in the Low Countries. Contributors: Aurelie Blanc, Philip Butterworth, Clare Egan, John Marshall, Olivia Robinson, Michael Spence, Meg Twycross.