Feast of Fools Free
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THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) . -
A Reappraisal of the Feast of Fools: Interaction and Reciprocity Between the Clerical and the Secular
A Reappraisal of the Feast of Fools: Interaction and Reciprocity between the Clerical and the Secular A Reappraisal of the Feast of Fools: Interaction and Reciprocity between the Clerical and the Secular MA Thesis History: Europe 1000-1800 Thesis Supervisor: Dr. p.c.m. Peter Hoppenbrouwers Due Date: 31/08/2019 Number of Credits: 20 Number of Words: 18.513 Name: Sokratis Vekris Student Number: 2254379 Address: Vasileiou 8, 15237, Athens, Greece Telephone number: +30 6948078458 E-mail address: [email protected] 1 A Reappraisal of the Feast of Fools: Interaction and Reciprocity between the Clerical and the Secular Table of Contents 1. Introduction p. 3 - 11 2. What Counts as Feast of Fools? p. 12 - 28 2.1. Tracing the Origins p. 12 - 14 2.2. Essential Features p. 14 - 19 2.3. Regional Variations p. 19 - 23 2.4. Contemporary Perception of the “Feast of Fools” p. 24 – 28 3. Lay and Clerical Interaction p. 29 - 48 3.1. Inviting the Laity p. 29 - 37 3.2. Clerical Participation in the Parallel Lay Festivities p. 38 - 48 4. Conclusion p. 49 5. Bibliography p. 50 - 53 2 A Reappraisal of the Feast of Fools: Interaction and Reciprocity between the Clerical and the Secular Introduction At the end of the eleventh century various regions of Northern France witnessed the emergence of what is arguably the most controversial ecclesiastical liturgy in the history of Catholic Christianity: The Feast of Fools. The first surviving notice of the feast comes from a learned theologian of Paris named Joannes Belethus (1135-1182), written in the period between 1160 and 1164. -
Vestiges of Midsummer Ritual in Motets for John the Baptist
Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006. -
Audition Pack
AUDITION PACK Please read all instructions carefully 1 ABOUT ‘HUNCHBACK’ What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame? BOOK Peter Parnell MUSIC Alan Menken LYRICS Stephen Schwartz BASED ON THE PLAY/BOOK/FILM The Hunchback Of Notre Dame By Victor Hugo FIRST PRODUCED 2014 TIME & PLACE Paris, 1482 Directed and Produced by: Mr Huntington Assistant Director: Alex Moxon Choreography: Miss Hobbs Musical Director: Graham Brown Assistant MD: Mr Porter-Thaw Choir MD: Mr North Pianist: Melody Day Costumes/Props: -
Why Christmas Can Never Be Cancelled the Economist
Why Christmas can never be cancelled The Economist Boozing away the winter blues is a long-held right Dec 11th 2020 BY TIM SMITH-LAING In the middle of a pandemic, it’s hard to think of a worse idea than celebrating a traditional Christmas. It seems like madness for extended families to travel from far and wide to squash round a table in the fug of a well-heated home and cough over Granny. Yet across the world people seem determined to do exactly that. Against the advice of epidemiologists, politicians in Britain chickened out of banning people from meeting up, France lifted stringent travel restrictions to allow limited get-togethers, and gatherings of up to ten people will be permitted in Germany. As many governments have found throughout history, you mess with Christmas at your peril. In an age of mass secularism, religion is only one reason why you can’t cancel seasonal festivities. Even Christians came rather late to the mid-winter festival. What we think of today as “Jesus’s birthday” wasn’t set in stone until the fourth century. Many early Christians thought their Messiah was born on January 6th. Others were adamant that it was the spring. (Just think, the Holly and the Ivy could have been Daffodils and Tulips.) It was only some 350 years after Jesus was born that newly Christian Rome put an end to centuries of squabbling and settled on December 25th as the date of the virgin birth (a few holdouts in the Orthodox church still prefer the January celebration). -
The Hunchback of Notre Dame …………………………………
TEACHER PREPARATION GUIDE Music by ALAN MENKEN, Lyrics by STEPHEN SCHWARTZ, and Book by PETER PARNELL Based on the book by VICTOR HUGO Directed By VICTORIA BUSSERT TABLE OF CONTENTS Dear Educator ………………………………………………………………………..... 3 A Note to Students: What to Expect at the Theater…………………………………… 4 GLT: Our History, Our Future………………………………………………………... 5 Director’s Note .......................…………………………………………………………. 6 Victor Hugo ……….. ... ………………………………………………………………. 8 Scenes & Musical Numbers ……………………………………………………………. 9 Past Performances of The Hunchback of Notre Dame …………………………………. 10 Idaho Shakespeare Festival’s Production of The Hunchback of Notre Dame …………. 12 Costume Design………………………………………………………………………… 14 Scenic Design…………………………………………………………………………... 18 Questions for Discussion Prior to Attending the Performance ………………………… 20 Activities ……………………………………………………………………………….. 23 Writing Prompts …………………………………………………………………..…… 26 How to Write a Review ………………………………………………………………… 28 A Sample Review Written by a Student ……………………………………………….. 29 A Brief Glossary of Theater Terms …………………………………………………….. 30 Questions for Discussion After Attending the Performance …………………………… 32 Notes …………………………………………………………………………………… 37 Generous Support …………………………………………………………………….... 39 About Great Lakes Theater ………….…………………………………………………. 40 ן TEACHER PREPARATION GUIDE: THE HUNCHBACK OF NOTRE DAME 2 Fall 2017 Dear Educator, Thank you for your student matinee ticket order to Great Lakes Theater’s production The Hunchback of Notre Dame by Alan Menken, Stephen Schwartz and Peter Pamell, which will be performed in repertory with William Shakespeare’s A Midsummer Night’s Dream in the beautiful Hanna Theatre at Playhouse Square from September 29th through November 5th. As the bells of Notre Dame’s cathedral sound in fifteenth-century Paris, Quasimodo - a deformed, captive bell-ringer - observes the city’s Feast of Fools from afar. Escaping his captor Frollo to join the festivities, Quasimodo is rejected by every reveler except the beautiful Gypsy, Esmeralda – with whom he is immediately smitten. -
The Jeu D'adam: MS Tours 927 and the Provenance of the Play
Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 The Jeu d'Adam: MS Tours 927 and the Provenance of the Play Christophe Chaguinian Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Medieval Studies Commons Recommended Citation Chaguinian, Christophe, "The Jeu d'Adam: MS Tours 927 and the Provenance of the Play" (2017). Early Drama, Art, and Music. 2. https://scholarworks.wmich.edu/mip_edam/2 This Edited Collection is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. The Jeu d’Adam EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Independent Scholar Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences The Jeu d’Adam MS Tours 927 and the Provenance of the Play Edited by Christophe Chaguinian Early Drama, Art, and Music MedievaL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data Names: Chaguinian, Christophe, editor. Title: The Jeu d’Adam : MS Tours 927 and the provenance of the play / edited by Christophe Chaguinian. Description: Kalamazoo : Medieval Institute Publications, Western Michigan University, [2017] | Series: Early drama, art, and music monograph series | Includes bibliographical references. -
224 Book Reviews a Bibliographical Primer, Editorial Guide, and Textual
224 Book Reviews A Bibliographical Primer, Editorial Guide, and Textual Introduction might be a more accurate (not to say verbose) title in hindsight, the reality is that ‘bibliography’ is simply not as sexy a term as ‘reading’. The book’s extensive discussion of other dramatists, with half of its illustrations gleaned from out- side the Shakespeare corpus, clearly indicates that Giddens’ subject-matter is far more than just ‘Shakespearean’ in the limited sense that a reader might intimate from the title alone. In much the same way, Lukas Erne’s Shake- speare’s Modern Collaborators (London and New York, 2008) functions as a superb primer on editorial theory and practice in general as much as it offers a persuasively argued mission statement for the continued importance of editing Shakespeare in particular. Indeed, one could easily teach a gradu- ate seminar on editing early modern drama, and not just Shakespeare, with Giddens and Erne as set texts. Neither book should be judged by its title. In conclusion, How to Read a Shakespearean Play Text is a solid but gen- tle introduction to the bibliographical and textual principles, methods, and issues most relevant to the study of early modern drama in print. It is not a substitute for the lengthier bibliographical tomes of Bowers, Greg, Gaskell, McKerrow and the like, nor does it claim to offer an exhaustive treatment of its subject. Giddens writes in an engaging, straightforward style that will not alienate a student readership (as many of the earlier handbooks may do). At the same time, the content is in no way diluted or reduced to appeal to a lay audience. -
The Medieval European Stage, 500-1550 Edited by William Tydeman Index More Information
Cambridge University Press 978-0-521-10084-7 - The Medieval European Stage, 500-1550 Edited by William Tydeman Index More information Index In a work of this scope it is clearly impracticable to list supplementary details for every entry. Priority has therefore been given to highlighting items of particular theatrical significance. Geographical locations adopt their present-day affiliation; dates are ad unless otherwise stated. Aalborg, Denmark 649 feintes devised for 315; Confrérie de la Aaron (Old Testament priest) 104, 571 Passion (1541) canvasses for actors and Abbeville, France, play-text bought (1452) 294 stages 288; procurator-general derides Abbots Bromley, England, Hobby Horse and performers (1542) 289, 330 Horn Dance 635–6 Adam and Eve, featured 38–9, 148, 149, 191, Aberdeen, Scotland, pre-1500 records retained 192, 193, 201, 220, 247, 360, 388, 389, 534; 207 Anglo-Norman Adam 150–1, costumes for Abele spelen [ingenious plays] 194, 489, 513; at 171–2, instructions to presenters 176, taken Arnhem 514 to Hell 174; Brussels Bliscapen cast 535; Abraham (Old Testament patriarch) 168, 172, Florence: occupy float in Festa 459; Greek 216, 220, 288, 345, 389, 391, 517, 533 Fall play 182–3; Innsbruck Easter Play: Abramo of Souzdal, Bishop (fl. 1440), on Adam sings and speaks 365; Norwich Florentine spectacles 12, 454–9 Grocers’ pageant: costumes and properties accidents, Bautzen (1413) 401; Beverley 218–19; Redentin Easter Play: both speak, (c. 1220) 181; Dunstable (c. 1100) 170–1; Adam sings 367; Zerbst: ‘naked with twigs’ Florence (1304) 430; Metz (1437) 346–7; 391 Paris (1380, 1384) 285; Seurre (1496) 303 Adam de la Halle (‘le Bossu’) (c. -
Records Ofearfvq English Drama
1980 :1 A newsletter published by University of Toronto Press in association with Erindale College, University of Toronto and Manchester University Press . JoAnna Dutka, editor Records ofEarfvq English Drama In this issue are Ian Lancashire's biennial bibliography of books and articles on records of drama and minstrelsy, and A .F. Johnston's list of errata and disputed readings of names in the York volumes. IAN LANCASHIRE Annotated bibliography of printed records of early British drama and minstrelsy for 1978-9 This list includes publications up to 1980 that concern records of performers and performance, but it does not notice material treating play-texts or music as such, and general or unannotated bibliographies . Works on musical, antiquarian, local, and even archaeological history figure as large here as those on theatre history . The format of this biennial bibliography is similar to that of Harrison T . Meserole's computerized Shakespeare bibliography. Literary journal titles are abbreviated as they appear in the annual MLA bibliography . My annotations are not intended to be evaluative ; they aim to abstract concisely records information or arguments and tend to be fuller for items presenting fresh evidence than for items analyzing already published records . I have tried to render faithfully the essentials of each publica- tion, but at times I will have missed the point or misstated it: for these errors I ask the indulgence of both author and user . Inevitably I will also have failed to notice some relevant publications, for interesting information is to be found in the most unlikely titles; my search could not be complete, and I was limited practically in the materials available to me up to January 1980. -
Herefordcathedralitw 0000000
12 13 14 15 2 1 3 16 17 18 4 5 21 20 19 6 7 8 22 1111 24 9 1010 23 OLD HEREFORDIANS’ CLUB NEWSLETTER 2011 OH News From the Development Office: President’s Report 2011 Look Forward, Look Back, Remember and Dream Another year has passed and ‘In an old, old cathedral city, there was an old, old the Old Herefordians’ Club school. In the old, old school there was an old, old staircase and up the old, old staircase the new continues to move forward Development Office lived! And it has been an eventful in a strong position first year!’ through its committee, Firstly, may Chris and I take this opportunity of thanking you contact with members and all for making us feel so welcome. We have been amazed by financially. your support and friendliness, and we both see this openness and community spirit as two of the main hallmarks of HCS. It is The OH day last year with your fantastic support that so much has been achieved fell over a particularly and accomplished. bad spell of weather In December, we opened the dedicated OH History Room which saw many of where students, staff and OH alike can see items of the day’s events being memorabilia, including a wide selection of uniforms, and cancelled. There was, photographs. Additionally, the room contains copies of HCS however a great and OH Magazines over the years and through these we have been able to archive details of people’s time at the school. Our turnout at the lunch thanks go to Chloe Gilbert (OH 2011) for her help with the and the opening of the archive this summer. -
Christmas - Its' Origin, Symbols and Development
A New You Ministry Website: http://www.anym.org Email: [email protected] Post: 18 Hennessey’s Place Conception Bay South, NL Canada, A1X 6Z3 Christmas - Its' Origin, Symbols and Development Christmas & the Roman Saturnalia Comparison of the Two Festivals Source: Gordon J. Laing, Survivals of Roman Religion (New York: Longmans, 1931), pp. 58, 62–65. [p. 58] The festival of Saturn fell on December 17, but its popular celebration lasted for seven days. It began as a country festival in the time when agriculture was one of the chief activities of the Romans, but it soon came to be celebrated in urban centers also. It was a period of indulgence in eating, drinking, and gambling, and during these seven days city officials condoned conduct that they would not have tolerated at any other season. One feature of the occasion was the license allowed to slaves, who were permitted to treat their masters as if they were their social equals. Frequently indeed masters and slaves changed places and the latter were waited on by the former. Another feature of the celebration was the exchange of gifts, such as candles (cerei) which are supposed to have symbolized the increasing power of the sunlight after the winter solstice, and little puppets of paste or earthenware (sigillaria), the exact significance of which is obscure. It was a season of hilarity and good-will… [p. 62] The extremists who have said that Christmas was intended to replace the Saturnalia have vastly overstated the case. Nor is it of any importance that Epiphanius, the bishop of Salamis in Cyprus in the fourth century, places the Saturnalia on the twenty- fifth of December.