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UNIVERSITY of CALIFORNIA Los Angeles Staging Mysteries UNIVERSITY OF CALIFORNIA Los Angeles Staging Mysteries: Transnational Medievalist Performance in the Twentieth Century A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Carla Neuss 2021 ã Copyright by Carla Neuss 2021 ABSTRACT OF THE DISSERTATION Staging Mysteries: Transnational Medievalist Performance in the Twentieth Century by Carla Neuss Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2021 Professor Sean Metzger, Chair This dissertation traces adapted forms of the medieval mystery cycle tradition within different transnational moments of social, political, and cultural crisis. In redirecting the spiritually didactic aims of medieval performance, the modern mysteries that constitute this project illuminate how medieval theatre functions as an historical imaginary for the transformative potential of performance. This project investigates three twentieth-century adaptations of the medieval mystery cycle tradition: Alexander Scriabin’s unfinished multi-genre performance, Mysterium (c. 1910); Jean Paul Sartre’s first play, Bariona (1940); and a South African production of the Chester Mystery Cycle, Yiimimangaliso (2000). Chapter 2 demonstrates how Mysterium sought to enact a distinctly medieval imaginary of spiritual unity epitomized by the Russian religious value of sobornost.’ In analyzing its Russian Symbolist aesthetics, I argue that the Mysterium was designed phenomenologically to enact social transformation on the eve of the Soviet revolution ii through "affective atmosphere.” Chapter 3 discusses Jean-Paul Sartre's relatively unknown play Bariona as an adaptation of the medieval French nativity play tradition produced during World War II. This chapter situates Bariona within the longstanding tradition of French medievalist performance as a contested political site within the national consciousness. By analyzing its carceral creation in a POW camp, I argue that Bariona enacted a spiritual and liberatory efficacy through the phenomenology of the gaze. Chapter 4 discusses Yiimimangaliso, a South African adaptation of the Middle English Chester Mystery Cycle, as form of post-colonial syncretic theatre. Staged in the wake of apartheid, Yiimimangaliso's disparate domestic and international reception demonstrates how the "unmodern" is exoticized and consumed in both medieval and racialized forms while enacting a new notions of nationhood. Though stemming from vastly different genealogies, these performances converge on their invocation of the medieval mystery as a performed imaginary of cultural and national unity during times of national rupture. By tracing their respective generation and reception, this project argues for the “mystery” as a theatrical modality that seeks to interpellate spectators into new, transformative subjectivities that disrupt binaries between secular and sacred during moments of social, political, and cultural change. iii The dissertation of Carla Neuss is approved. Maaike Bleeker Suk-Young Kim Christine Chism Sean Metzger, Committee Chair University of California, Los Angeles 2021 iv Table of Contents Acknowledgements ........................................................................................................................ vi Vita ................................................................................................................................................ vii Ch. 1 – Introduction ........................................................................................................................ 1 Ch. 2 – Staging the Apocalypse: Spiritual Transformation and Affective Atmosphere in Scriabin’s Mysterium .................................................................................................................... 35 Ch. 3 – Enacting Freedom: Liberatory Efficacy, Medievalist Unity, and the Carceral Gaze in Sartre’s Bariona ............................................................................................................................ 87 Ch. 4 – Performing the Unmodern: Yiimimangaliso and South African Medievalist Performance ..................................................................................................................................................... 134 Ch. 5 – Epilogue ......................................................................................................................... 187 Bibliography ............................................................................................................................... 193 v Acknowledgements This dissertation is indebted to the guidance, support, and encouragement of innumerable mentors, family, and friends. I would like to personally thank my committee members, Prof. Suk-Young Kim, Prof. Christine Chism, and Prof. Maaike Bleeker for their guidance, feedback and enthusiasm for this project. I would like to also thank Dr. Diana King of UCLA Library Services especially for all of her assistance in locating sources, particularly during the COVID- 19 pandemic. I would like to extend my appreciation to the whole UCLA TAPS community, especially my colleagues and friends, Jenna Tamimi, Guillermo Aviles-Rodriguez, Clara Wilch, and Danielle Davis. Thank you to my family, Carl, Elaine, Rebecca, Alex and Linnéa for their encouragement and love over the past five years and to the parish of Church of the Resurrection in Highland Park as a constant source of care and community. I extend a special thanks to my mentors at previous institutions, who laid the groundwork for this project: Prof. Marianne Constable, Prof. Eleanor Bayne-Johnson, and Prof. Elisabeth Dutton. And finally, I extend my heartfelt thanks and gratitude to Prof. Sean Metzger, whose tireless dedication, feedback, and encouragement made my time at UCLA and my research a true joy. vi Vita EDUCATION M.Phil. University of Oxford, 2011 English Literature (650-1550) B.A. U.C. Berkeley, 2008 English Literature PUBLICATIONS 2022 "Negotiating Key Terms" in The Methuen Drama Handbook of Gender and Theatre, ed. Roberta Mock and Sean Metzger, (London: Methuen & Co.) – forthcoming 2022 2021 “Going ‘Live’ Again: Reflections on Zoom, Co-Presence, & Liveness in a (Post) Pandemic World,” Theatre Survey 62, issue 3 – in press 2021 “Learning to Learn: Didactic Efficacy and Cognitive Dissonance in the Chester Cycle,” Exemplaria 33.1 – in press 2020 "The Apocalypse Will Be Staged: Transformational Efficacy and Affective Atmosphere in Scriabin's Mysterium," Journal of Dramatic Theory and Criticism 35, No. 2 (Fall 2020): 133-151. 2020 "Interview with South African director, Mark Dornford-May", Theatre Journal 72, No. 4 (Dec. 2020): E-11 – E-18. 2019 “Performing Psychologies: Imagination, Creativity, and Dramas of the Mind. Edited by Nicola Shaughnessy and Philip Barnard (review)” Theatre Journal 71, No. 3, (Dec. 2019): 530-531. 2018 “Dry Land by Ruby Rae Spiegel (review)”, Theatre Journal 70, No. 3, (Sept 2018): 399- 401. 2018 “Review: David Scott Kastan’s A Will to Believe: Shakespeare and Religion”, Performance, Religion, and Spirituality 1, No. 2, (Spring 2018): 192-194. SELECTED CONFERENCE ACTIVITY 2021 “Yiimimangaliso: The Chester Mystery Cycle in Post-Apartheid South Africa” (General Session Presenter - International Congress for Medieval Studies, May 2021) 2021 “Come Look At The Baby: Co-presence and Affective Atmosphere in Live Performance” – (Forum Session Presenter – MLA 2021) 2020 “Repetitions of the Medieval in Contemporary Performance”(Working Session Convenor - American Society for Theatre Research [ASTR 2020]) vii 2019 “An Event That Creates Faith: Destabilizing Secularity through South African Medievalist Performance”(Working Session Presenter - ASTR 2019) 2019 “Staging the Miraculous: Cognitive Dissonance and the Didactic Impetus in the Chester Mystery Cycle” (General Session Presenter - International Congress for Medieval Studies 2019) 2018 “Cognitive and Affective Intersections in the Arousals of Performance” (Working Session Primary Convenor - ASTR 2018) 2018 “The Revolution Will Have Music: Music, Theatre, and the Sacred” (Panel Presenter - ATHE 2018) 2018 “Medieval Dissonance: Didacticism & Cognitive Dissonance in the Medieval Mystery Cycle Tradition” (Panel Presenter - Cognitive Futures in the Arts and Humanities 2018) 2017 “A South African Mystery Cycle: Affective Didacticism & Cognitive Dissonance in Yiimimangaliso” (Working Session Presenter - ASTR 2017) 2017 “Liveness: The Art and Science of In-Person Experiences” (Invited Talk - Pacific Coast Builders Conference 2017) FELLOWSHIPS & AWARDS 2020 Dissertation Year Fellowship, UCLA 2020 Reach for the Stars Award, UCLA 2019 Collegium of University Teaching Fellows, UCLA 2019 Helen Krich Chinoy Dissertation Fellowship, ASTR 2019 Georgia Frontiere Scholarship, UCLA 2018 Graduate Research Mentorship, UCLA 2018 Tim Robbins Award in Playwriting, UCLA 2016 Graduate Dean’s Scholar Award, UCLA SERVICE 2021 Editorial Board, Comitatus 52 2019 Assistant Editor, Theatre Journal, (2019-2020) 2019 Steering Committee Member, UCLA TAPS Graduate Student Conference (2019-2021) viii Chapter 1 - Introduction On January 6th, 2021, rioters stormed the U.S. capital; in addition to MAGA caps and confederate flags, the rioters showcased Viking styled hats and ancient Norse tattoos that invoked an imaginary of the medieval Europe and its white supremacists associations.1 Such imaginaries about the “Middle Ages” are far from new; within the last
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