Everyman Jones: European Medieval Theatre History for Grade 9-12 Session Design by Sarah Luthy and Nicole Martineau

LEARNING OBJECTIVES

Content Standards

 Utah Theatre Foundations IV: Standard 4, Objective 1A o Demonstrate script analysis (internal research); from the viewpoint of scriptwriter.

 Utah Theatre Foundations IV: Standard 2, Objective 2A o Demonstrate the use of clear voice when communicating in performance

 Utah Theatre Foundations IV: Standard 4, Objective 1B o Demonstrate historical and cultural analysis from the viewpoint of a scriptwriter.

Enduring Understandings

 Students will understand that theater and drama are deeply influenced by the culture, politics, religions, ideologies, and values of the time and place in which it develops.

Key Knowledge

 Students will know that European Medieval drama was heavily influenced by Bible stories, Catholic rites and ceremonies, and Christian mythology.  Students will know that the European Middle Ages began in 476 AD and ended around 1500 AD  Students will know that theater was formally banned by early Medieval Christian religious and political leaders.  Despite this, it was through the Catholic church that drama and theater was reborn through liturgical drama, in which short scripture stories or Biblical accounts were briefly acted out during church services.  Students will know that European Medieval vernacular drama (drama done by common people and in their everyday language) fell into two categories: o Mystery and Miracle Cycle Plays: Dramatized Bible stories or the lives of Saints (respectively), written in common vernacular, and performed outside of churches. They were frequently performed in “cycles:” a several-days long production would depict the stories of Adam and Eve, Moses, Noah, etc. until Judgement day, or the life stories of the saint. The plays included moments of solemn religious fervor, but had scenes of comedy as well. o Morality Plays: Allegorical stories about Man’s journey through life and encounters with good and evil, written in the vernacular. They were full of symbolism and frequently had no set time or place.  Students will know that European Medieval dramas had linear, episodic plot structures.

ASSESSMENT

Performance Tasks

 Students complete the New Artifact Description Sheet (aka Medieval Scene Analysis Guide, see attached) in order to demonstrate script analysis from the viewpoint of scriptwriter, historical and cultural analysis, their understanding of the elements of Medieval dramatic forms (the subject matter and structure of the plays, the themes of the plays, the presence and use of comedy and solemnity in the plays), their understanding of Catholicism’s effect on Medieval drama.

 Students defend, in role as an archaeologist and researcher, their analysis of a Medieval script in order to demonstrate clear voice in a performance.

Other Assessments

 Students write a brief report in order to demonstrate their knowledge of the different dramatic forms of Medieval Europe.

MATERIALS NEEDED

Teacher Materials

 New Artifact Description Sheet (aka Medieval Scene Analysis Guide) (attached)  Field Notes handout (aka Medieval European Theater Notes Worksheet) (attached)  Dr. Jones’ letter (attached)  Medieval Scenes (attached)

LEARNING PLAN

Note: The following plan is written for two facilitators. While some parts of this plan may not be possible when teaching solo (arguing with the partner facilitator, for example), it is still possible to play the part of an opinionated archaeologist who wants to help Dr. Jones.

Framing / Hook 1. Enter the classroom in role as archaeologists, arguing over the “true nature of European Medieval drama” and “how we can save Dr. Jones.” Welcome the students to class as “Student Archaeologists” and “Researchers.” Tell them that they day has come when their blossoming understanding of ancient cultures will be put to the test: Your good friend and colleague, Dr. Henry Jones, or Indiana as some call him, is in trouble. . 2. Read Dr. Jones’ letter to your scholars (attached). Explain that he needs us to discover the truth, but the problem is - nobody, not even you, know all the facts about Medieval theater. You can’t even agree on the plot structure or themes, since a Medieval play has never been found. a. Soft, dramatic underscoring a la Indiana Jones may be appropriate here

Process 3. You both agree to avoid another argument by telling the scholars some things you do know about European Medieval theater. 4. Give each students a Field Notes handout and ask the students to take notes that they could use later in their work in the field. Introduce the students to the time period and setting of the Medieval Era and inform them of the religious setting of Medieval Europe. Remind students that it is important for them as historians and researchers to appreciate the religion of the time period so they can appreciate the literature of the time - however, this does not mean they must agree or disagree in that religion. 5. Write “Liturgical Drama,” “Mystery Cycle Plays,” “Miracle Plays,” and “Morality Plays” on the board. Tell the students about these four Medieval dramatic forms using the information provided above in the Key Knowledges section. Write highlights on the board throughout the lecture. a. Continue your in-role banter with the other facilitator throughout this lecture. 6. At the end of this mini-lecture, one of you points out in frustration that none of this will actually help Indiana, since none of it is mentioned in Indie’s letter. The other suddenly remembers that Indie dropped off a package of things he found in a cathedral in England that he said might help. Open the envelope; inside, you are thrilled to discover, are several excerpts from Medieval manuscripts. Excitedly hand each one out to a group of students, emphasizing that this is the chance of a lifetime. a. Each scene should be an excerpt from a different dramatic form (Mystery Play, Morality Play, Miracle Play, or Liturgical Play) b. Distressing the scripts and synopses may add to the in-class drama 7. You remember to follow protocol, and hand each group a New Artifacts Description sheet. Ask the students to use the sheet to analyze each scene, reminding them of what Indiana’s colleague has told him about Medieval theater, and what they must be searching for as they read the script. 8. Tell the students to first read through the scene as a group. When they have finished reading, direct them to begin analysis of the scene, using the New Artifact sheet as a guide. Have them complete the New Artifact sheet (attached) as a group and discuss the elements of the scene. 9. As you walk around to the different groups, begin asking what the group thinks the structure of the play was. You become frustrated as students begin to disagree with your idea of Medieval play structure. 10. Announce that you are dissatisfied with the students’ analysis, and want to see the scenes yourself in a staged reading. Give students a minute to chose parts, and then a few minutes to read through the scene and prepare basic staging of their scene. 11. Call a group up to perform their staged reading for the class. a. First ask the group to introduce the scene by telling the class what the play is about, and then have the students perform. 12. After the reading, ask the group, “Which dramatic form do you think the play was that your scene is from?” “What do you think was the play’s dramatic structure (climactic, episodic, or serial, linear or non-linear)?” “What did you learn about Medieval Europe from this scene?” a. As students reply, push the students to convince you of a linear, episodic structure. Debate in role with them about their analysis. 13. Ask all the students to add any more useful information they learned from the staged reading to their Field Notes. 14. Repeat for all the following scenes. 15. Reread Dr. Jones’ letter to the class. As you do, you realize that Dr. Jones’ associate is an imposter, and may want to kill Indiana. Quickly write a letter, hand it to a student, and ask the student to run it to be mailed to Dr. Jones. a. Don’t let the student get far - call them back quickly and bring the students together for the reflection out-of-role.

Reflection 16. Out of role, discuss with the students: What are some common themes or dramatic elements that were employed in the scenes? (Religion, Good v. Evil, linear structure, episodic structure, heightened language, etc.) How do you think their religion affected what Medieval playwrights wrote about, and how they wrote about it? 17. Explain to the students that of course Medieval plays have been found, read, and analyzed before, but that everything else in the lesson was true. 18. Homework: Ask students to prepare, in their role as an archaeologist, a report for a professional research journal explaining the origins of European Medieval drama and different forms that arose from liturgical drama. Remind them to include the day’s new findings! Letter from Dr. Jones:

Dear Dr. Martineau and Professor Luthy –

I’m writing to you because I feel I have no one left to trust. I’ve been in Western Europe for the past four months, on the trail of a Medieval artifact that is rare and exciting – so exciting, that telling you in this letter may endanger both of you.

When I first got here, a Dr. Elsa Schnieder came up and introduced herself as a researcher and scholar of Medieval literature. She seemed helpful, and very knowledgeable – every bit the expert in her field she claimed to be, and even though I’d never heard of her, she’s become my associate because I needed her.

She’s started acting suspiciously. I’m starting to doubt some of the things she’s told me, especially about Medieval theater. She insists that all European Medieval theater had a non-linear, climatic structure, and that all of it was comedic. I know a lot about the middle ages, but I’m no expert in Medieval theater. I know you and your class of archeologists are. If you could tell me whether she’s lying to me or not, I may be able to expose her as an imposter. It may just save my life, and keep the artifact I’ve been searching for out of evil hands.

Please answer me as soon as possible.

Dr. Henry “Indiana” Jones

EVERYMAN

God commands Death, His messenger, to go to Everyman and summon him to be accountable for his choices. Death comes to Everyman and informs him it is time for him to die. Everyman tries to bribe Death, and begs for more time. Death denies Everyman's requests, but will allow him to find a companion for his journey, someone to speak for his good virtues. Fellowship, representing Everyman's friends, enters and promises to go anywhere with him. However, when Fellowship hears of the true nature of Everyman's journey, he refuses to go. Everyman then calls on Kindred and Cousin, who represent family, but they refuse as well. Everyman realizes that he has put much love in material Goods, so Goods will surely come with him on his journey with Death. But Goods will not come, saying that Goods' presence would only make God's judgment of Everyman more severe. Everyman then turns to Good Deeds. Good Deeds says she would go with him, but she is too weak as Everyman has not loved her in his life. Everyman begs God for forgiveness and repents of his sins to Confession. Confession declares that Everyman is freed of his sins, and as a result, Good Deeds becomes strong enough to accompany Everyman on his journey with Death. Good Deeds summons Beauty, Strength, Discretion and Five Wits (the five senses) to join them. They all agree to accompany Everyman, but change their minds when they hear where his journey ends, since they are all qualities that fade as a person gets older. Everyman climbs into his grave with Good Deeds at his side and dies, after which they ascend together into heaven, where they are welcomed by an Angel. Death: Everyman, stand still; whither art thou going thus gaily? Hast thou thy Maker forget?

Everyman: Why askst thou? Wouldest thou know?

Death: Yea, sir, I will show you; In great haste I am sent to thee from God out of his great majesty.

Everyman: What, sent to me?

Death: Yea, certainly. Though thou have forget him here, he thinketh on thee in the heavenly sphere, as, or we depart, thou shalt know.

Everyman: What desireth God of me?

Death: I am Death, that no man dreadeth. For every man I rest and no man spareth; for it is God’s commandment that all to me should be obedient.

Everyman: O Death, thou comest when I had thee least in mind; In thy power it lieth me to save, Yet of my good will I give thee, if ye will be kind, yea, a thousand pound shalt thou have, and defer this matter till another day.

Death: Everyman, it may not be by no way; I give thee no respite: come hence, and not tarry.

Everyman: Alas, shall I have no longer respite? I may say Death giveth no warning; Wherefore, Death, I pray thee, for God’s mercy, spare me till I provided of remedy.

Death: Thee availeth not to cry, weep, and pray: But haste thee lightly that you were gone the journey, and prove thy friends if thou can. And now out of thy sight I will me hie; See thou make thee ready shortly, for thou mayst say this is the day that no man living may escape away.

Fellowship: Everyman, good morrow by this day. Sir, why lookest thou so piteously?

Everyman: Yea, good Fellowship, yea, I am in great jeopardy.

Fellowship: My true friend, show me your mind; I will not forsake thee, unto my life’s end, in the way of good company.

Everyman: That was well spoken, and lovingly. Commanded I am to go on a journey, a long way, hard and dangerous, and give a strait count without delay before the high judge Adonai. Wherefore I pray you bear me company, as ye have promised, in this journey.

Fellowship: That is a matter indeed! Promise is duty, but, and I should take such a voyage on me, I know it well, it should be to my pain: if we took such a journey, when should we come again?

Everyman: Nay, never again till the day of doom.

Fellowship: In faith, then will not I come there! Who hath you these tidings brought?

Everyman: Indeed, Death was with me here

Fellowship: Now, by God that all hath brought, if Death were the messenger, I will not go that loath journey.

Everyman: Ye promised other wise.

Fellowship: I would not forsake you, while the day is clear, trust me verily!

Everyman: Yea, thereto ye would be ready; To go to mirth, solace, and play, your mind will sooner apply than to bear me company in my long journey.

Fellowship: For from thee I will depart as fast as I may.

Everyman: Whither away, Fellowship? Will you forsake me?

Fellowship: Yea, by my fay, to God I betake thee.

Everyman: Farewell, good Fellowship; for this my heart is sore; Adieu for ever, I shall see thee no more.

THE MIRACLE OF

ST NICHOLAS AND THE

SCHOOLBOYS

Three schoolboys seek shelter at the home of an old man and his wife. The couple seem, at first, kind and welcoming. While the boys are sleeping, the old man notices that the boys’ money purses are bulging, and the wife encourages him to kill them so they will no longer be as poor as they have been their entire lives. They kill the boys and hide the bodies. St. Nicholas arrives and says he needs a place to stay. The old man and his wife let him in. When St. Nicholas asks for “fresh meat,” the couple replies that they don’t have any, but St. Nicholas knows they have killed the schoolboys and disciplines them for their evil deed. He prays that God will bring the schoolboys back to life, and the boys are revived.

NICHOLAS: I am a pilgrim, and the road is hard. I cannot drag my feet another yard. Therefore, as you do hope your souls' salvation, Grant me I pray a night's accommodation.

OLD MAN [to WOMAN]: Now what do you advise, beloved spouse? Shall I admit the old man to the house?

OLD WOMAN: He looks a most respectable old party; And so look sharp, and give him welcome hearty.

OLD MAN: Come in, come in, good pilgrim, come inside. For men like you we always can provide. If there is any nice dish you prefer, I'll do my best to get it for you, sir.

N1CHOLAS [seating himself at table]: None of these things before me can I eat. Only one thing I want, and that's fresh meat.

OLD MAN: I'll cook you up a steak tender and hot; It isn't fresh, sir, but it's all I've got.

NICHOLAS: That is a lie, old man, come straight from hell. You have here in this house, I know right well, Meat that has just been slaughtered. Foul the deed, And foul the vice that led you to it,—Greed!

OLD MAN and OLD WOMAN [falling on their knees]: Have mercy on us, mercy, we implore you! O saint of God, see, we fall down before you. Our sin is black as Satan's hide, but still It can be pardoned wholly if God will.

NICHOLAS: Bring here the bodies in their sad condition, And let your hearts be smitten with contrition. By God's grace shall these boys arise. Go, mortify yourselves with tears and sighs.

NICHOLAS [prays]: God, to whom sky and air and sea and land Are only playthings in Thy powerful hand, Those who now cry to Thee do Thou forgive, And grant that these young scholars rise and live.

THE CHESTER CYCLE

THE STORY OF NOAH

God sees that the earth is covered in evil and must be washed clean with a flood. He tells Noah that only his family will be saved from the flood because they are righteous, and that Noah must build a boat for his family to sail in. Noah thanks God and he and his sons and their wives begin work on the boat and gather the animals. Noah’s wife is stubborn and lazy – she refuses to help. When the boat is finished and the flood begins, Noah’s wife refuses to get into the boat and is pulled in by her son, Shem. The flood kills everyone else on earth but Noah and his family. When the rain has stopped, Noah sends out a dove, which returns with an olive branch in its beak, which means the flood is over. The family celebrates and thanks God. God tells Noah he has done well and promises that he will never flood the earth again. God leaves a rainbow in the sky as a reminder of his promise.

Noah: Wife, come in, why standest thou there? Thou art ever forward, that I dare swear: Come on God’s half, time it were, For fear lest that we drown.

Noah’s Wife: Yea, sir, set up your sail And row forth with evil heel, For without any fail, I will not go out of this town. I have my friends every one, They shall not drown, by St. John! If I may save their life. Else row forth, Noah, And get thee a new wife.

Shem: Father, I shall set her in, I know, Without any fail. Mother, my father after thee sends, And bids thee unto yonder ship wend.

Noah’s Wife: Son, go again to him and say I will not come therein today!

Noah: Come in, wife, in twenty devils’ way, Or else stand without.

Shem: Shall we all fetch her in? Mother, we pray you altogether, For we are here, your children; Come into the ship for fear of the weather.

Noah’s Wife: That I will not for your call, But if I have my friends all.

Shem: In faith, mother, yet you shall, Whether you wish it or not!

Noah: Welcome, wife, into this boat!

QUEM QUAERITIS OR WHO DO YOU SEEK

Quem quaritis Who do you seek? Ihesu Nazarenum Jesus of Nazareth Non est hic…moruis He is not here. He is risen as he foretold. Go tell that he has risen from the dead Alleluia! Resurrexit Dominus! Alleluia! Risen Lord! Venite et videte locum Come and see the place Surrexit Dominus de sepulchro The lord is risen from the grave Te Deum laudamus To God all glory