The study of ‘medieval drama’ is dominated by the scriptural mystery cycles. While these plays sought to teach about scripture and salvation, they were not drily didactic teaching tools but were full of humour, humanity, and spectacle. Medieval literary theories connected enjoyment and learning, so it is possible that the comedy was the sugar to help the educational medicine go down: however, modern revivals of medieval plays have repeatedly demonstrated that their human power is far more than a sweetener, and in the twentieth century scholars applied theories of carnival to demonstrate medieval theatre’s potential to be politically and socially subversive. Theatrically they are highly innovative, particularly in their self-conscious exploration of the nature of performance and the relationship between actors and audiences. This course will comprise in-depth study of the plays of the York Cycle, the most complete of the collections of scriptural plays which survives, and also that for which we have most evidence as to the practicalities of performance. The plays will be considered as scripts for performance, as vehicles for political polemic, and as part of a verbal and visual culture by which the medieval world explored its relationship with the divine. 21.09 Introduction to Cycle drama, Ordo Paginarum 28.09 The Creation of the World, the Fall of the Angels 05.10 The Creation of Man, the Fall of Man 12.10 Joseph’s Trouble about Mary 19.10 The Nativity 26.10 The Flight into Egypt: the Entry into Jerusalem 02.11 The Conspiracy; Christ Before Annas and Caiaphas 09.11 Christ before Pilate I, the Dream of Pilate’s Wife 16.11 Christ before Herod, Christ before Pilate II, the Judgment 23.11 The Crucifixion; The Death and Burial 30.11 The Harrowing of Hell 07.12 The Resurrection 14.12 The Last Judgment 21.12 The Shepherds |