Medieval Theatre Miracle Play
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Franciscan Saints, Blesseds, and Feasts (To Navigate to a Page, Press Ctrl+Shift+N and Then Type Page Number)
Franciscan Saints, Blesseds, and Feasts (to navigate to a page, press Ctrl+Shift+N and then type page number) Saints St. Francis de Sales, January 29 ................................................ 3 St. Agnes of Assisi, November 19 ..........................................29 St. Francis Mary of Camporosso, September 20 ................24 St. Agnes of Prague, March 2 ...................................................6 St. Francis of Paola, April 2 ........................................................9 St. Albert Chmielowski, June 17 ............................................. 16 St. Francisco Solano, July 14 .....................................................19 St. Alphonsa of the Immaculate Conception, July 28........20 St. Giles Mary of St. Joseph, February 7 ................................4 St. Amato Ronconi, May 8 .......................................................12 St. Giovanni of Triora, February 7 ............................................4 St. Angela Merici, January 27 ................................................... 3 St. Gregory Grassi, July 8 ........................................................ 18 St. Angela of Foligno, January 7 ................................................1 St. Hermine Grivot, July 8 ....................................................... 18 St. Angelo of Acri, October 30 .............................................. 27 St. Humilis of Bisignano, November 25 .................................30 St. Anthony of Padua, June 13 ................................................ 16 St. -
Tikrit University College of Education for Humanities English Department First Year 2019-2020
Tikrit University College of Education for Humanities English Department First year 2019-2020 Medieval Theatre Assist. Prof. Marwa Sami Hussein Medieval Theatre Medieval times started after the fall of Rome and lasted through to 15th century, roughly to the Protestant Reformation. In this time before the printing press made it necessary or even possible for the great majority of people to read, the primary method of teaching and learning was through the oral tradition. Throughout this time, the church had grown to become the most powerful and most consistent institution throughout Europe. Since theatre tells stories, it was a natural mechanism for telling the bible stories and delivering any other information the church wanted communicated to the people, particularly as this period was a time of turmoil (chaos) and the church was the only stable government. In fact, the church had become so strong that it was able to close all theatre productions except for those that it officially sanctioned (acceptable). Those plays fell into three categories: morality, mystery and miracle plays. 1-Mystery play Mystery play: is a dramatic genre, one of three principal kinds of vernacular (colloquial) drama in Europe during the Middle Ages (along with the miracle play and the morality play). The mystery plays, usually representing biblical subjects, developed from plays presented in Latin by churchmen on church premises (building) and depicted such subjects as the Creation, Adam and Eve, the murder of Abel, and the Last Judgment. 1 During the 13th century, various guilds began producing the plays in the vernacular at sites removed from the churches. -
PP Summer 13.Indd
Editor’s Reflections � The dream of every truly Christian parent To stand by a prisoner thus condemned and run the risk of ac- is to raise godly offspring—children who cusation took uncommon courage. Even Paul’s appreciative letter live wholeheartedly for Christ no matter naming Pudens and the others could have triggered accusation what the cost. This dream was fulfilled by and arrest, trial, and a similar fate. For Claudia, Eubulus, Linus the daughters of a father named Pudens. (who went on to become an overseer of the church of Rome and Pudens makes an undisputed appear- suffer eventual martyrdom), and Pudens to render such assis- ance in the New Testament, but he does tance put them at great risk. Obviously, they were great heroes of not figure prominently: a mere two words faith. Can we know anything at all about them? in Paul’s closing remarks to Timothy, “and Recently, we had the privilege to search through Rome, cull- Pudens,” in the second letter to Timothy ing data about Paul’s last days there and the Christians who stood 4:21, as the apostle ends this—his final— by him. My wife, the Rev. Dr. Aída Besançon Spencer, professor letter with greetings from those courageous enough to stand by of New Testament at Gordon-Conwell Theological Seminary, was him in his last imprisonment. researching her two-volume commentary on the Pastoral Epis- Paul’s penultimate sentence reads like an honor roll: among a tles coming this autumn from Cascade’s New Covenant Com- group, he specifies three coworking men and one woman, “Eu- mentary series. -
Liturgical Calendar 2017-2018
LITURGICAL CALENDAR 2017-2018 Sunday Lectionary: Year B Weekday Lectionary: Cycle II APOSTOLIC VICARIATE OF SOUTHERN ARABIA (United Arab Emirates, Oman, Yemen) www.avosa.org PARISHES, INSTITUTES AND SOCIETIES Abu Dhabi St. Joseph, Abu MSP Mission Society of -SJ Dhabi the Philippines Al Ain St. Mary, Al Ain Ma’ala Immaculate CSJ Sisters of St. Joseph Conception, Aden of Chambery Musaffah St. Paul, Abu Dhabi CSST Carmelite Sisters of RAK St. Anthony of St. Teresa Padua, Ras Al Cap Order of Friars Khaimah Minor Capuchin Rosary Dominican Sisters CMS Comboni of the Rosary Missionary Sisters Ruwi Ss. Peter and Paul, Crater Holy Family, Aden Muscat Dubai-SM St. Mary, Dubai SPC Sisters of St. Paul of FMCK Franciscan Chartres Missionaries of Salalah St. Francis Xavier, Christ the King Salalah Fujairah Our Lady of SDB Salesians of Don Perpetual Help, Bosco Fujairah Sana’a Mary, Help of Ghala Holy Spirit, Muscat Christians, Sana’a Hodeidah Sacred Heart, Sharjah St. Michael, Sharjah Hodeidah Sohar St. Anthony, Sohar Jebel Ali St. Francis of Assisi, Taiz St. Therese of Child Dubai Jesus, Taiz MC Missionaries of Tawahi St. Francis of Assisi, Charity Aden ABBREVIATIONS B.V. Mary Blessed Virgin Mary OT Ordinary Time comm commemoration sol solemnity fst feast Ss./St. Saints/Saint Fil Filipino wkdy weekday mem obligatory memorial 2 NOTES 1. This Calendar provides a quick reference to the celebration of the day and should be consulted regarding celebrations proper to the Vicariate, especially on weekends. Fuller information can be found in the online Vicariate Ordo (avosa.org/ordo). 2. For the Vicariate Proper Calendar, and the readings for the celebrations on it, see pp. -
Catacombs of Rome
Catacombs of Rome The Catacombs of Rome (Italian: Catacombe di Roma) are ancient catacombs, underground burial places under Rome, Italy, of which there are at least forty, some discovered only in recent decades. Though most famous for Christian burials, either in separate catacombs or mixed together, people of all the Roman religions are buried in them, beginning in the 2nd century AD,[1] mainly as a response to overcrowding and shortage of land. The Etruscans, like many other European peoples, used to bury their dead in underground chambers. The original Roman custom was cremation, after which the burnt remains were kept in a pot, ash-chest or urn, often in a columbarium. From about the 2nd century AD, inhumation (burial of unburnt remains) became more fashionable, in graves or sarcophagi, often elaborately carved, for those who could afford them. Christians also preferred burial to cremation because of their belief in bodily resurrection at the Second Coming. The Park of the Caffarella and Colli Albani (Rome Metro) are nearby. The Christian catacombs are extremely important for the art history of Early Christian art, as they contain the great majority of examples from before about 400 AD, in fresco and sculpture, as well as gold glass medallions (these, like most bodies, have been removed). The Jewish catacombs are similarly important for the study of Jewish culture at this period. A number of dubious relics of A Procession in the Catacomb of catacomb saints were promoted after the rediscovery of the catacombs. Callixtus, 1905 by Alberto -
History of Theatre the Romans Continued Theatrical Thegreek AD (753 Roman Theatre fi Colosseum Inrome, Which Was Built Between Tradition
History of theatre Ancient Greek theatre Medieval theatre (1000BC–146BC) (900s–1500s) The Ancient Greeks created After the Romans left Britain, theatre purpose-built theatres all but died out. It was reintroduced called amphitheatres. during the 10th century in the form Amphitheatres were usually of religious dramas, plays with morals cut into a hillside, with Roman theatre and ‘mystery’ plays performed in tiered seating surrounding (753BC–AD476) churches, and later outdoors. At a the stage in a semi-circle. time when church services were Most plays were based The Romans continued the Greek theatrical tradition. Their theatres resembled Greek conducted in Latin, plays were on myths and legends, designed to teach Christian stories and often involved a amphitheatres but were built on their own foundations and often enclosed on all sides. The and messages to people who could ‘chorus’ who commented not read. on the action. Actors Colosseum in Rome, which was built between wore masks and used AD72 and AD80, is an example of a traditional grandiose gestures. The Roman theatre. Theatrical events were huge works of famous Greek spectacles and could involve acrobatics, dancing, playwrights, such as fi ghting or a person or animal being killed on Sophocles, Aristophanes stage. Roman actors wore specifi c costumes to and Euripedes, are still represent different types of familiar characters. performed today. WORDS © CHRISTINA BAKER; ILLUSTRATIONS © ROGER WARHAM 2008 PHOTOCOPIABLE 1 www.scholastic.co.uk/junioredplus DECEMBER 2008 Commedia dell’Arte Kabuki theatre (1500s Italy) (1600s –today Japan) Japanese kabuki theatre is famous This form of Italian theatre became for its elaborate costumes and popular in the 16th and 17th centuries. -
History of Greek Theatre
HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood. -
Orality in Medieval Drama Speech-Like Features in the Middle English Comic Mystery Plays
Dissertation zur Erlangung des philosophischen Doktorgrades Orality in Medieval Drama Speech-Like Features in the Middle English Comic Mystery Plays vorgelegt von Christiane Einmahl an der Fakultät Sprach-, Literatur- und Kulturwissenschaften der Technischen Universität Dresden am 16. Mai 2019 Table of Contents 1 Introduction.................................................................................................................................1 1.1 Premises and aims ................................................................................................................2 1.2 Outline of the study .............................................................................................................10 2 Comedy play texts as a speech-related genre ........................................................................13 2.1 Speech-like genres and 'communicative immediacy'...........................................................13 2.2 Play texts vs. 'real' spoken discourse...................................................................................17 2.3 Conclusions.........................................................................................................................25 3 'Comedy' in the mystery cycles................................................................................................26 3.1 The medieval sense of 'comedy'..........................................................................................26 3.2 Medieval attitudes to laughter..............................................................................................37 -
Peter of Atroa (773–837) Basil the Great (329–79)
JANUARY 1 Peter of Atroa (773–837) EMinistry under duress Ephesus is a popular archaeological site on the western coast of today’s Turkey. The apostle Paul established a Christian congregation there on his first missionary journey, remaining there three years, ministering to first-generation Christians. About seven hundred years later, Peter of Atroa was born to Christian parents in the neighborhood of Ephesus. Peter had natural spiritual interests, and at eighteen, he became a monk, and a few years later, an ordained priest. As he began a pilgrimage to Jerusalem, a mystical vision turned him and his companion aside with the inspiration to build a monastery. A strong work resulted and Peter became the monastery’s leader at the age of thirty-two. People sought him because of his reputation as a healer and because of his sensitive spirit. The early ninth century was a difficult time for Christians in that part of the world. Persecution increased with each passing year, and Peter worked fervently to protect his monks from harm. He died on the first day of January, 837, in the chapel choir, while his brother monks sang around him. JANUARY 2 Basil the Great (329–79) EClear thinking Popular heresy has always been a threat to basic Christian doctrine. It was rampant in the early centuries, and one attractively 1 Butler’s Lives of Saints expressed teaching was Arianism. The controversy began in Alexandria, in about 320, as a dispute between Arius and his bishop. Arius thought that Christ was neither fully God nor fully human, but something in between. -
The Staging of the Theatrical Corpse in Early Modern Drama
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 2010 Corpses revealed: The staging of the theatrical corpse in early modern drama N M. Imbracsio University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Imbracsio, N M., "Corpses revealed: The staging of the theatrical corpse in early modern drama" (2010). Doctoral Dissertations. 520. https://scholars.unh.edu/dissertation/520 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. CORPSES REVEALED: THE STAGING OF THE THEATRICAL CORPSE IN EARLY MODERN DRAMA BY N. M. IMBRACSIO Baccalaureate of Arts, Clark University, 1 998 Master of Arts, University of Massachusetts-Boston, 2001 Master of Fine Arts, Emerson College, 2004 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English September, 2010 UMI Number: 3430774 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3430774 Copyright 2010 by ProQuest LLC. All rights reserved. -
Capuchin Saints and Blesseds
CAPUCHIN SAINTS AND BLESSEDS Owen O’Sullivan OFM Cap. © Owen O’Sullivan OFM Cap., 2013. Contents PREFACE.......................................................................iv Note on Canonization and Beatification ........................vi Alphabetical List of Capuchin Saints and Blesseds, including Capuchinesses.................................................ix Dates of Liturgical Celebrations of Capuchin Saints and Blesseds, including Capuchinesses..............................xii Acknowledgements......................................................xiv BLESSEDS AGATHANGELUS AND CASSIAN........1 BLESSED ANDREW HYACINTH LONGHIN............3 BLESSED ANGELUS OF ACRI....................................7 BLESSED APOLLINARIS OF POSAT.........................9 BLESSED BENEDICT OF URBINO...........................13 SAINT BERNARD OF CORLEONE...........................15 SAINT BERNARD OF OFFIDA..................................17 SAINT CONRAD OF PARZHAM...............................19 SAINT CRISPIN OF VITERBO...................................21 BLESSED DIDACUS JOSEPH OF CADIZ.................26 SAINT FELIX OF CANTALICE.................................28 SAINT FELIX OF NICOSIA........................................32 SAINT FIDELIS of SIGMARINGEN: 24 April...........34 BLESSED FLORIDA CEVOLI....................................37 i SAINT FRANCIS MARY OF CAMPOROSSO..........40 BLESSED HONORATUS OF BIALA PODLASKA...42 SAINT IGNATIUS OF LACONI.................................44 SAINT IGNATIUS OF SANTHIÀ...............................47 BLESSED -
Painting in Rome in the Time of Paschal I: S. Prassede All'esquilino and S. Cecilia in Trastevere
No. 9 (Spring 2017), 197-234 ISSN 2014-7023 PAINTING IN ROME IN THE TIME OF PASCHAL I: S. PRASSEDE ALL’ESQUILINO AND S. CECILIA IN TRASTEVERE1 Giulia Bordi Università degli Studi Roma Tre e-mail: [email protected] Carles Mancho Institut de Recerca en Cultures Medievals (IRCVM), Universitat de Barcelona e-mail: [email protected] Valeria Valentini Università degli Studi della Tuscia (Viterbo) e-mail: [email protected] Received: 07 March 2017 | Revised: 31 March 2017 | Accepted: 26 April 2017 | Available online: 21 June 2017 | doi: 10.1344/Svmma2017.9.15 Resum Il complesso basilicale di S. Prassede, realizzato da Pasquale I (817-824) all’inizio del suo pontificato, conserva uno dei cicli affrescati più importante della città di Roma altomedievale, e che insieme all’architettura e ai mosaici di questa stessa basilica, concorrono a creare un monumento privilegiato per lo studio della produzione artistica di inizio IX secolo. In questa sede proponiamo un primo approccio allo studio di questi affreschi finora poco indagati e una revisione di quanto detto fino ad oggi su un altro complesso legato alla figura di Pasquale I, S. Cecilia in Trastevere, e più precisamente sulla decorazione del suo battistero. Questa ricerca fa parte di un progetto più ambizioso in cui si punta ad approfondire la Roma di Pasquale I in occasione del 12º centenario dell’insediamento del pontefice. Paraules clau: Santa Prassede, Santa Cecilia, Pasquale I, Mosaico, Affreschi, Roma, Pontefice, Martiri Abstract The basilical complex of S. Prassede, commissioned by Paschal I (817-824) at the beginning of his papacy, houses one of the most important frescoe cycles of early medieval Rome, which, together with the architecture and mosaics of this same basilica, turn it into a privileged monument for the study of the artistic production of the early ninth century.