PERFORM Log

May 1992

Date:         Mon, 11 May 1992 13:39:15 EST
Reply-To:     PERFORM - Medieval Performing Arts 
Sender:       PERFORM - Medieval Performing Arts 
From:         "Jesse D. Hurlbut" 
Subject:      The First Message

           "Watson, come here!  I need you!"
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Date:         Tue, 12 May 1992 13:20:23 EST
Reply-To:     PERFORM - Medieval Performing Arts 
Sender:       PERFORM - Medieval Performing Arts 
From:         Jesse Hurlbut 
Subject:      Performance Alphabet

Sometimes it's best to start things off with an alphabet:

A is for Animal Acts

We heard about dancing horses, bears and baboons at K'zoo.  What other
animal acts do we know about?  I can think of a few associated with
the Feast of the Pheasant (1458--a description of which will soon be
available on Perform) which included a lion, an elephant and even a
hawking party.  I've also seen references to the use of live animals--
but also of people dressed as animals--in Burgundian tableaux vivants
(cf. Nancy Regalado's work on the Renard tableaux in Paris, 1313).  Are there
records of any of the problems associated with working with live animals
(training them, cleaning up after them, etc.)?

Jesse Hurlbut
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Date:         Fri, 15 May 1992 10:51:56 EST
Reply-To:     PERFORM - Medieval Performing Arts 
Sender:       PERFORM - Medieval Performing Arts 
From:         Jesse Hurlbut 
Subject:      Mystere de la Pucelle

I know that we're still a pretty small group, but I was wondering if
anyone out there knows of any recent work done on _le Mystere de la Pucelle
ou du siege d'Orleans_??  I'm thinking of doing an edition or perhaps
just a study of this text.  Part of my interest in this play is
that it has as its principal subject some relatively current events
(Joan of Arc).  What other examples of this sort of thing are out there?

Jesse
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Date:         Tue, 26 May 1992 12:18:37 EST
Reply-To:     PERFORM - Medieval Performing Arts 
Sender:       PERFORM - Medieval Performing Arts 
From:         Jesse Hurlbut 
Subject:      PLS festival

I've just returned from the PLS festival of Medieval Drama in Toronto.
It was a terrific experience and there were many wonderful productions.
After the final dramatic performance there was a brief gathering ("Meet
the Directors") where some interesting comments were made.  The importance
of adaptability came up several times--refering to the directors, the
performers and even to the audience.  The point was that everyone needs
to be flexible enough to accept whatever the conditions of the performance
may be (good/bad weather, in/outdoors, humorous or not, etc., etc.)

There is, I think, a big difference between the kind of adaptability
required to reconstruct centuries-old drama and whatever it takes to
put on contemporary plays.  I wonder, however, if this can be articulated
in any more specific terms.   Any suggestions?

Jesse Hurlbut
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Date:         Tue, 26 May 1992 15:35:15 EST
Reply-To:     PERFORM - Medieval Performing Arts 
Sender:       PERFORM - Medieval Performing Arts 
From:         Jesse Hurlbut 
Subject:      Re: PLS festival
In-Reply-To:  Message of Tue,
              26 May 1992 12:18:37 EST from 

Here is a list of the plays that were put on in Toronto.  Milla Riggio
has offered to write up reviews of each of the plays and submit them
to this list in the near future (stay tuned...)

The Apple Tree (Den Appelboom)
The N-Town 'Assumption of the Virgin'
The Braggart and His Shadow (Het Lansknecht--a monologue)
The N-Town 'Cain and Abel'
Chi Cercate? (Medieval Lauds from Umbria)
Everyman
An Interlude of the Life and Repentance of Saint Mary Magdalene
Meat Pie, Fruit Pie (Le Pate et la Tarte)
The Play Called the Four PP
The Pregnant Abbess: A Miracle of the Virgin Mary (from the processional
     plays of Lille)
Pride of Life
The Second Shepherd's Play (Secunda Pastorum)
The Miracle of the Blind Man and the Cripple
The True and Very Strange History of Mary of Nimmegen Who for More Than
     Seven Years Lived with the Devil and Kept Company with Him (Mariken
     van Nieumeghen)
Youth