2. General features
Themes
Structure
Language
Audience
Authors and works
3. General features
Medieval drama flourished in the 15th century; it
developed out of liturgical ceremonies: the origin of
medieval plays can be found in the Church and in its rituals
At first the church had control of drama even outside of
the church- they would give the approval
But secular groups like trade guilds took over. They were
called, “Confraternities”.
It was common that certain guild would retain control over
certain play/stories, all of which were based on the Bible or
religious teachings.
4. After music was introduced into churches (6th
century) and words were later fitted to the
melodies, a dramatic dialogue began to take place
in the form of an alternation of chants between
the priest and the choir
Later processional and scenic effects were added
which increased dramatic action: liturgical drama
evolved into Miracle and Mystery plays and these
ones into Morality plays
6. MORALITY
Morality plays sprung up in order to teach the
audience a lesson.
These plays depicted the struggle of man in a
good-vs.-evil drama. Vices such as greed, pride
and vanity were personified along with wholesome
traits such as patience, good will and honesty.
The characters were placed in a situation that
tested their courage and ability to overcome evil.
One of the best known morality plays is called
"Everyman," first appearing in the late 15th century.
7. MYSTERY AND MIRACLE
Mystery and miracle plays came about as a way to
re-enact Christian events such as Christmas and
Easter.
These performances maintained Christian themes
and showed struggles between man and the devil
based around the miracles of Creation and the
stories involving Jesus Christ's life.
The plays utilized extensive props and became part
of a cycle that took place in several installments for
townspeople to view.
8. FARCE
Originally, the farce plays were developed as short
breaks between the acts of the heavy morality,
mystery and miracle plays and were meant to give
the audience a moment to relax.
These farce skits were known best for their
crudeness and jokes regarding sex and various
states of digestion.
The farce play became popular and moved away
from the Church, debuting as its own form of
amusement.
One of the best known is the "Farce of Master
Pierre Pathelin.“
9. The Miracles grew in popularity, so
the plays left the Church to be
performed first in the Church yard,
then in other open spaces of the
town
Each play was repeated several
times in different parts of the town
with the help of a pageant, a carriage
in the form of small house with two
vertical rooms: in the lower room the
actors prepared themselves, in the
upper one they played their parts
10. Common people didn’t understand Latin, nor read
it. So, to ignite an interest in a faith losing to
paganism the church began incorporating it’s
liturgy into plays.
The earliest example is a 4-line dramatization of
the resurrection of Christ, it was called, “ The
Three Marys.
This practiced then blossomed into many skits
dealing with biblical themes. However most plays
stayed in Latin till approx. 1200
11. AUDIENCE
The cycles of Mistery
plays appealed to all
social classes, from
royalty to peasants: they
all came in to watch the
plays. Cycles instilled a
love of drama in the
people
Moralities were intended
for more learned people,
with some cultural
background
12. MEDIEVAL STAGES
There were two main areas for
performances to take place:
Mansions- These were small scenic
structures that indicated the location.
The church usually served as a
mansion (the choir loft could of
served as Heaven; whereas the altar
could of been the tomb of Christ.
Platea- This was a general acting
area, adjacent to the mansion.
Eventually Dramas were moved
outdoors probably because of the
expanding needs of the plays.
13.
14. Author and Works
Most authors of Medieval plays were
anonymous. Some important ones are:
• Hrosvitha- A Benedictine Nun
• John Bale- English Churchman
• Adam de la Halle – A French composer
15. Hrosvitha
• Hrosvitha- Was the first female playwright, and she
was a Nun from Gandersheim Germany. She wrote in
Latin, and is considered by some to be the first
person since antiquity to compose drama in the
West.
• The Panegyric of the Line of Otho; and six plays
intended to wean the scholars of those days from the
reading of Terence. These dramas, collectively known
as Comaedia Sacrae VI, are the most remarkable part
of her productions
16. John Bale
• John Bale (21 November 1495 – November 1563) was an
English churchman, historian and controversialist, and
Bishop of Ossory. He wrote the oldest known historical
verse drama in English (on the subject of King John)
• This was a time of religious upheaval in England. The
Roman Catholics vs. the Protestants.
• John Bale denounced the monastic system and its supporters
in unrestrained language and coarse imagery. The prayer of
Infidelitas which opens the second act of his Three Laws is an
example of his profane parody.
17. Adam de la Halle
• Born in Arras, France. Died in Naples, Italy. He was a
musician and poet in the court of Count d'Artois. He
is one of the few medieval musicians to be credited
with both monophonic and polyphonic music. Adam
de la Halle is one of the earliest authors of French
secular theater. His Le Jeu de Robin et de Marion,
(Play of Robin and Marion) in 1285 led to the birth of
Opera Comique.
18. REFERENCES
Askelan, Erin. The History of Medieval Theater. Retrieved from:
http://www.ehow.com/about_5381978_history-medieval-theater.html
Retrieved from: http://en.wikipedia.org/wiki/Medieval_theatre
Pfontaine. 2010. Drama 1301 project-Medieval Theater. Retrieved
from: http://www.slideshare.net/pfontaine42/medieval-drama-fnl
