Theatre in the Middle Ages

8/11/2019 Theatre in the Middle Ages

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Theatre in the Middle Age


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Covers the period from the Fall of theRoman Empire until the EuropeanRenaissance.Circa 500AD to 1400AD.A time period called the Dark Ages.

It is often referred to as the Dark Ages due

to the economic regression and intellectualdarkness that followed what what referredto as the light of Rome.


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This idea of lightness versus darkness ismostly due to the historians of the time.Writers who catalogues the middle ageswere almost entirely Christian, and theirmetaphors of light and dark were a

product of their religious education and

upbringing.The era was not in fact void of genius orinnovation.


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What did change greatly was the literaryprowess of individuals within Europeansociety, and the city-state structure that had

dominated most of Europe during ClassicalAntiquity.The classic texts of the Roman Empire werelost or isolated. The grand architecture andthriving cities of Rome, and Greece before

that, were gone.


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It was a time of small, feuding segments ofpeople. Lords of lands and subjects,

engaged in constant battle with distant andnot-so-distant neighbors to control smallpockets of territory or resources. And atthe heart of all was the rise of a new andpowerful force - the Catholic Church.


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Theatre in the Middle AgeThe Fall of the Roman Empire

Mid 4th Century - Capital of the Empiremoved from Rome to Byzantium by theEmperor Constantine. (Later Constantinopleand then Istanbul, in Turkey)This is why this period sometimes refers tothe Byzantine Empire.Outlying fortified cities began to crumble,

under repeated attacks from Germanic Tribesand Barbarian Invasions.As the fortifications fell, people abandonedthe outlying territories and the population ofthe Empire shrank.


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Theatre in the Middle AgeThe Fall of the Roman Empire

Near the end of his life, Constantine convertsto Christianity.He decrees that the religion is legal, and circa380AD, it becomes the official religion of theEmpire.All Emperors following Constantine were

Christian.The Catholic Church is established (Catholicmeaning all-encompassing) and begins to gainpower over the state and the Empire.


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Theatre in the Middle AgeThe Fall of the Theatre

The Empire, which had been Pagan mostly(worshipping Nature, several Gods & Deities)now takes a shift.In an attempt to eliminate all elements of the oldways, the Church begins to outlaw all forms ofpagan celebration or communal events.Theatre was considered sinful, as it celebrated

lewd conduct, dancing and other forms of ritualfrom the old ways.Wanting the control the dissemination of ideas,the Church also found in theatre a dangerouscounterpart to its narrative for life and truth.


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Theatre in the Middle AgeThe Survival of Theatre

The only forms of theatre that continued were inindividual performers or small bands of travelingartists.They were called MINSTRELS.They performed songs, poems, stories, dances,acrobatics or any other form of dramatic

performance in exchange for food and/or lodging.They would juggle, perform magic tricks, tell storiesand ballad of great and ancient battles. Anything toentertain.


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The MINSTRELS were always easily recognisable, wearingbrightly colored costumes and often riding a costumed horse ordecorated caravan. They would travel from castle to castle,village to village, peddling a bit of buffoonery or wonder for ameal, a trade, a good nights sleep, or other necessary provisions.This practice was generally considered illegal in most of Europe,and was often punishable by death.

This put the Minstrels in a peculiar quandary. They had to find away to draw attention to themselves in order to make a living,while keeping their performances secret, or at least entertainingenough for the local magistrates to turn a blind eye, or beswayed to applause rather than authority.


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The Minstrel rarely dared stay in any one place more than ashort time, for fear their acts would become stale, or their hidestossed in a jail. It was often a harsh and nomadic lifestyle.

Some Minstrels, especially those who garnered favour from theKing or other royalty would be lucky enough to be granted the

position of court JESTER - assigned to provide entertainment forthe heads of state and their court guests. While still not an easylife, the Jester could at least rely on a rooted home, andconsistent work.


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'Tis thou must have more partakers in storeBefore thou upstand me in deed,For I have a staff, he is made of ground gaffeAnd I warrant he'll do my deed.Aye, and I warrant he'll do my deed.

And I have another, quoth bold Robin Hood,He's made of an oaken tree,He's eight foot and a half and would knock down a calfAnd why shouldn't a' knock down thee?Aye, and why shouldn't a' knock down thee?

Let us measure our staves, says bold Robin HoodBefore we begin and away,If by half a foot mine should be longer than thineThen that should be counted foul play.Aye, and that should be counted foul play.

Then at it they went, for bang, for bang,The space of two hours or more.Every blow they swung makes the grove to ringAnd they play their game so sure.Aye, and they play their game so sure.

Then bold Robin Hood drAnd he blew it both loud aAnd direct thereupon he eCome running a-down theAye, come running a-dow

O what is the matter? thenYou are not doing well, heO, says bold Robin Hood,And I warrant he's tannedAye, and I warrant he's ta

If he's such a tanner, then A tanner that tans so true,We'll make-a no doubt buAnd I warrant he'll tan myAye, and I warrant he'll ta

That thing shall not be, saFor he is a hero so bold,For he has best play'd, he And by no man shall he bAye, and by no man shall

ROBIN HOOD & THE TANNER

In Nottingham there lived a jolly tannerWith a hey, down, down a down downHis name was Arthur a BlandThere is not a squire in NottinghamshireDare bid bold Arthur stand.

And as he rode out in a summer's morningWith a hey In the forest of merry SherwoodTo view the red deer that range here and there,there met he with bold Robin Hood

What a fellow art thou? quoth bold Robin Hood,And what is thy business here?For now, to be brief, thou dost look like a thiefAnd I come for to steal the king's deer.Aye, come for to steal the king's deer

No, I am the keeper of this parishThe king hath a-put me in trust;And therefore I pray thee to get on thy wayOr else to upstand thee I must.Aye, Or else to upstand thee I must.


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Another kind of traveling musician was called theTROUBADOUR.The troubadours composed and performed ancientlyric poetry, and often played instruments like theirMinstrel counterparts. It was quite common to see atroubadour with a fiddle on his shoulder, regaling acrowd with tales of chivalry and courtly love - the

main topics covered by the troubadours poems.Their stories were metaphysical and formulaic, oftenplaying out like a fable or fairy tale -whimsical andromantic, with a strong moral message inherent.The songs were sung in OCCITAN, an ancient formof French.


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Tant M!abelis

Tant m'abelis jois et amors et chans ert alegrier deportse cortezia,que l'mon non a ricor ni manentia don mielhs d'aisso'mtengues per benonans doncs,sai ieu ben que midons ten las claus de totz los besqu'ieu aten ni espere ren d'aiso sens lieys non puesc aver.Sa gran valors e sos humils semblans son gen parlar esa bella paria,m'an fait ancse voler senhoria plus que d'autra qu'ieuvis pueys ni dabans;e si'l sieu cors amoros e suause sa merce no'm denha retener,ja d'als amors no'm pot far mon plazer.

So Much I Love

So much I love joy and love anand courtesy,

that in the world there is no wecould make me feel happier.

Therefore I know well that my all the good that I expect and h

and none of this can I have wi

Her great courage and her moher gentle speech and her fair

me always love her dominion have seen before or since;

and if her loving and tender hedeigns not to keep me under h

please me with anything else.


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As the Middle Ages progressed (into what was called the high MiddleAges), the position of Minstrel expanded. Many unemployed,incorrigible or criminal citizens saw Minstrel performance as an easyway to make a quick living, or as a perfect rouse to burgle or swindlea crowd or a family.In order to protect the integrity of their profession, the Minstrelsbegan forming GUILDS, much like the tradesmen of their times.

These guilds, recognised by the King, issued licenses forperformance, ensuring that the Minstrel in question had been juried,and containing a kind of oath that guaranteed no nefarious motives.These early guilds not only helped to legitimise the profession, butalso set the basis for the actors and musicians unions we now engagearound the world.


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Eventually, the Church realised that Aristotle was right -the performing arts were the purest of human arts, andcould never be truly quashed. So, they decided instead toharness the power of theatre, and they developed theirown forms of performance.Almost all masses, rituals and religious texts were in Latin.Since most of the population were illiterate at this time,

the Church saw public performance and entertainment asa way to reach the masses and further theirindoctrination.The Church began to perform plays in order to interpretand describe Bible stories for the congregations and to aidin their expanding proselytizing.


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Passion plays, the retelling or reenactment of specific BibleStories (such as the story of Job), performances of theGospels or Stations of the Cross were the early forms oftheatres reestablishment in this period.The Church had to review and approve all performances

before granting permission.Performances took place outside of the churches in townsquares.The plays were required to have a religious message orBible Story.


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CYCLE PLAYS - These were plays based on monumental eventsin the life of Christ.BIBLE STORIES - Acting out of stories from both the Old andNew Testaments.MORALITY PLAYS - Plays that had a religious undertone, andtaught lessons of right and wrong.

Morality Plays used ALLEGORY in order to show their lessonsand religious messages.ALLEGORY is the use of symbols or metaphor in order topresent or represent a rhetorical argument, idea or theme.


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The most famous surviving Morality Playfrom this era is EVERYMAN.

Written in the mid 15th Century.

An allegorical play about a life of worship,and the impending mortality we all face.


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Documents

Theatre in the Middle Ages