PERFORM Log
February 1995
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Date: Tue, 31 Jan 1995 22:29:37 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: fkilgall@UCS.INDIANA.EDU
Subject: Re: Actors from death row
For what it's worth, the Romans reportedly did the same thing; Fellini
portrays that happening in his version of "Satyricon," rather loosely
based on Petrarch's account. You might check Petrarch to see what
he says on the subject. If true, it could lead to some interesting
connections.
=========================================================================
Date: Wed, 1 Feb 1995 07:16:21 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: RIGGIO@ADS.CC.TRINCOLL.EDU
Subject: Re: Actors from death row
Dear Jesse:
I don't know about condemned criminals, but Kathleen Falvey has been working
for years on the roles that guild "comforters" of the condemned played,
especially in John the Baptist plays (the exemplary role for the
condemned) in Italian confraternity drama. She might have more
information.
Best,
Milla
=========================================================================
Date: Wed, 1 Feb 1995 08:31:34 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "K. Eisenbichler"
Subject: Re: Actors from death row
In-Reply-To: <9502010902.AA12297@jazz.epas.utoronto.ca>
I personally do not know of any instance in Italian medieval or
Renaissance drama where condemned criminals were used as actors ...etc.
However, I would direct your attention to the extensive work done by
Kathleen Falvey (English, U of Hawaii at Manoa) on Italian medieval drama
and the comforting rituals of Italian confraternities that assisted
condemned criminals in their last hours and then buried the body. In
particular, you may note her article "Early Italian Dramatic Traditions
and Comforting Rituals: Some Initial Considerations" published in the
volume _Crossing the Boundaries. Christian Piety and the Arts in Italian
Medieval and Renaissance Confraternities_ (Kalamazoo: Medieval Institute,
1991), pp. 33-55. In that article she points out that in some cases the
confraternities or the play organizers actually borrowed from the
executioner; eg. in the case of a passion play on St. John the Baptist,
the confraternity could have used the executioner's axe ... and dont
forget that the play may have been staged on the "Campo di giustizia",
the open space with a permanent or quasi-permanent stage already in
place! The unstated connections between a play on the martyrdom of a
saint or the executions that would take place on that very spot or with
that very instrument are powerful, to say the least!
Konrad Eisenbichler
=========================================================================
Date: Wed, 1 Feb 1995 07:43:31 -0800
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: David Reinheimer
Subject: Re: Actors from death row
In-Reply-To: <199502010901.BAA25943@franc.ucdavis.edu>
On Tue, 31 Jan 1995, Jesse Hurlbut wrote:
> I've read in a couple of places (I'm trying to remember where) that
> in some instances, condemned criminels participated in medieval
> mystery plays--their own execution lending dramatic realism to the
> depiction of a martyrdom scene.
>
> Is this verifiably true? do we have documented instances of this
> practice?
>
> Are there also other ways in which the very real become part of the
> 'play' like this?
>
>
> Jesse_Hurlbut@byu.edu
>
Jesse--
I don't remember hearing about this happening in medieval plays,
but Massinger's _The Roman Actor_(1626) draws on a historical tradition
that death row inmates often served as victims in Roman tragedy.
Unfortunately, I don't have any firther references for this subject
handy. Hope this helps.
Have a good day!
Dave
UCDavis
=========================================================================
Date: Wed, 1 Feb 1995 13:29:05 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: David Klausner
Subject: Re: Actors from death row
In-Reply-To: <9502010902.AA12297@jazz.epas.utoronto.ca>
Jesse - not exactly a medieval example, but don't forget the Player's
description of precisely this (as an experiment) in Stoppard's _R & G are
Dead_ - and his commments on how desperate a failure it was.
Prof. David Klausner/Centre for Medieval Studies/University of Toronto
klausner@epas.utoronto.ca phone: 416-978-6752 fax: 416-971-1398
On Tue, 31 Jan 1995, Jesse Hurlbut wrote:
> I've read in a couple of places (I'm trying to remember where) that
> in some instances, condemned criminels participated in medieval
> mystery plays--their own execution lending dramatic realism to the
> depiction of a martyrdom scene.
>
> Is this verifiably true? do we have documented instances of this
> practice?
>
> Are there also other ways in which the very real become part of the
> 'play' like this?
>
>
> Jesse_Hurlbut@byu.edu
>
=========================================================================
Date: Wed, 1 Feb 1995 15:52:12 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Actors from death row
In-Reply-To: Your message dated "Wed,
01 Feb 1995 08:31:34 -0500" <199502011354.IAA04586@gw.wmich.edu>
Dear Konrad,
I read your note about Kathy Falvey's work, and thought I should let you know
that I am now on email. Glad you had a chance to publicize Kathy's work.
Cliff Davidson
=========================================================================
Date: Tue, 31 Jan 1995 23:14:18 GMT-6
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Sarah Gaffron
Subject: Re: Actors from death row
For what it's worth, the question about the criminals being executed
in perormances reminded me of "An Actor's Nightmare." In one of my
classes, we are arguing about what actually happens at the end of the
play--whether or not George actually does die. I think that he does,
but much of my class disagrees and feels that it is just another
segue in the play. Realizing this doesn't directly relate to the
subject at hand, I just thought I'd bring it up. Why is the end
ambiguous? I think it's intentional. Any thoughts?
Sarah Gaffron
700 Terrace Heights
PO Box 503
Winona, MN 55987
smgaffro@rex.mnsmc.edu
=========================================================================
Date: Wed, 1 Feb 1995 20:17:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Alan E. Knight"
Subject: Re: Actors from death row
In-Reply-To: HURLBUTJ AT JKHBHRC.BYU.EDU -- Tue, 31 Jan 1995 13:35:14 -0700
Jesse,
I too have read or heard that criminals were executed during the
performance of one or more mystery plays, but I can find no source or
evidence for such an event.
Your second question, however, concerning the mixture of play and
reality, is both more interesting and easier to deal with. As you
know, the line between 'play' and the 'real world' was far less
clearly drawn for medieval spectators than it is for us. The
processions you have worked on are a good example of the complete
interpenetration of dramatic impersonation and social reality.
The line blurs also in the Passion plays when, for example, Jesus
or John the Baptist preaches to the multitudes. It was clearly
the spectators who played the role of the multitudes. I think, too,
that the spectators must have reacted as players in the drama at
certain moments of powerful tension like the crucifixion or moments
of triumph like the resurrection. I once saw a Passion play in
Ohio in which the spectators spontaneously shouted things like
"Praise God!", "Halleluia!",and "Thank you, Jesus!" at the instant
of the resurrection. Perhaps it's not so much the spectators playing
a role in the drama as perceiving the 'play' as reality. This surely
must have been the case in the Middle Ages.
You perhaps know the _Farce du Pate_ in which the husband takes off
his 'robe' and asks a spectator to keep it for him while he sets the
table. Gustave Cohen failed to see the joke of crossing the line
between play and reality and therefore rewrote the scene in his
edition.
Alan Knight
aek@psuvm.psu.edu
=========================================================================
Date: Thu, 2 Feb 1995 07:51:51 -0800
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: David Reinheimer
Subject: Re: Actors from death row
In-Reply-To: <199502020748.XAA26131@franc.ucdavis.edu>
While this doesn't (in my memory) answer the specific question
about criminals, the conflation of play world and real world in medieval
drama is the subject of Anne Barton (aka Righter), _Shakespeare and the
Idea of the Play_. She argues that the audiences in medieval drama were
treated not as ancillary spectators, but as characters involved in the
action of the drama itself.
Have a good day!
Dave
UCDavis
On Wed, 1 Feb 1995, Alan E. Knight wrote:
> Jesse,
> I too have read or heard that criminals were executed during the
> performance of one or more mystery plays, but I can find no source or
> evidence for such an event.
>
> Your second question, however, concerning the mixture of play and
> reality, is both more interesting and easier to deal with. As you
> know, the line between 'play' and the 'real world' was far less
> clearly drawn for medieval spectators than it is for us. The
> processions you have worked on are a good example of the complete
> interpenetration of dramatic impersonation and social reality.
> The line blurs also in the Passion plays when, for example, Jesus
> or John the Baptist preaches to the multitudes. It was clearly
> the spectators who played the role of the multitudes. I think, too,
> that the spectators must have reacted as players in the drama at
> certain moments of powerful tension like the crucifixion or moments
> of triumph like the resurrection. I once saw a Passion play in
> Ohio in which the spectators spontaneously shouted things like
> "Praise God!", "Halleluia!",and "Thank you, Jesus!" at the instant
> of the resurrection. Perhaps it's not so much the spectators playing
> a role in the drama as perceiving the 'play' as reality. This surely
> must have been the case in the Middle Ages.
>
> You perhaps know the _Farce du Pate_ in which the husband takes off
> his 'robe' and asks a spectator to keep it for him while he sets the
> table. Gustave Cohen failed to see the joke of crossing the line
> between play and reality and therefore rewrote the scene in his
> edition.
>
> Alan Knight
> aek@psuvm.psu.edu
>
=========================================================================
Date: Thu, 2 Feb 1995 12:50:41 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: CAMPBELT@SCHOLAR.WABASH.EDU
Subject: Actors from death row
Jesse,
Alan Knight's response inspires me to jump in. He's absolutely
right about the "complete interpenetration of dramatic impersonation
and social reality" in medieval drama and paradramatic
representations. My own studies of the Rouen Ascension procession,
in which a condemned criminal (usually a murderer from death row) was
released surely support this idea. The church obviously drew upon a
large reservoir of lay belief in the efficacy of liturgical ceremony
to create social reality, for it clearly interfered with civil law.
My question is this: did the audience perceive any limits to this
interpenetration--or was it a natural/conditioned response?
Tom Campbell
campbelt@wabash.edu
=========================================================================
Date: Thu, 2 Feb 1995 16:57:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Robert Clark
Subject: Re: Actors from death row
Jesse,
Rey-Flaud writes about such an occurence in Tournai in 1549. There was a
staging of a Judith and Holofernes play on the occasion of an entry into
the town by Philippe II, and a convicted criminal was cast in the role
of Holofernes. He had been sentenced to be torn with pinchers
(tenaille'), so perhaps decapitation seemed more attractive. R-F
suggests that perhaps he hoped that "Judith" wouldn't follow through
with it. But the organizers cast as Judith a young man who had been
sentenced to banishment with the understanding that if he carried it
off, he would be pardoned. He did and was.
Here is the passage from the article that I have at hand (Henri
Rey-Flaud, "Comme sur une autre scene, ou le Moyen Age de l'imaginaire,"
_Europe: Revue litteraire mensuelle_ no. 654, oct. 1983, pp. 93-101):
"La mise en scene de la douleur (et la frontiere, des ce moment, entre
le theatre et la vie s'efface) inscrit alors la communaute dans le temps
originaire mythique, ou se sont joues les sacrifices primordiaux. Ainsi
en 1549 a Tournai, deux compagnons decident de 'rendre au naturel' le
drame de Judith et Holopherne a l'occasion de l'entree de Philippe II
dans leur ville. A cette fin, ils choisissent pour tenir le role
d'Holopherne cette fois encore un criminel condamne a etre tenaille et
qui prefera la decapitation, dans l'espoir peut-etre qu'une jeune fille
n'oserait pas frapper. Mais les organisateurs avaient tout prevu et
retenu comme Judith un jeune homme condamne au bannissement et auquel on
avait promis sa grace en cas de succes. Et de fait au moment prevu,
Judith, saisissant les cheveux d'Holopherne qui feignait de dormir, lui
trancha la tete aux applaudissements frenetiques des spectateurs."
No notes or references to the archival source of this material,
unfortunately, but I'm almost certain that R-F talks about it in one of
his books (where, with any luck, he might actually give a reference).
Sound familiar to anyone? It may be in "Pour une dramaturgie...", in
which he talks about the "mirror that distorts," i.e. the image that the
theatre held up to society.
Hope this helps. Oh, BTW, R-F gives other examples in the article, not
of mysteres, but of medieval public executions as spectacle.
Cheers,
Bob Clark
=========================================================================
Date: Fri, 3 Feb 1995 08:07:25 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Wes Carver
Subject: Re: Actors from death row
Bob Clark
=========================================================================
Date: Fri, 3 Feb 1995 15:41:00 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Duane Kight
Subject: Les Acteurs maudits
Does anyone know at what point and why the medieval Church deemed
actors unworthy to be buried in consecrated ground? I know that actresses
were considered prostitutes for showing themselves before men, but whence
springs the marginality of actors? My guess would be that once drama moved
from the church precincts, the actors were considered blasphemous for
creating in their own image rather than God's. Replies by e-mail would be
appreciated ...
Cheers,
Duane
Duane Kight
dkight@haverford.edu
=========================================================================
Date: Fri, 3 Feb 1995 16:00:55 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jesse Hurlbut
Organization: Brigham Young University
Subject: Re: Actors from death row
Thanks to everyone for great leads and comments. I recognized the
text that Bob Clark cited (from Rey-Flaud) but there was another
passage in an older book I was thinking of. I did some more digging
and finally found a photocopy of the first chapter of:
Frederic Faber,
_Histoire du Theatre francais en Belgique depuis son origine jusqu'a
nos jours: d'apres des documents inedits reposant aux Archives
Generales du Royaume._ (Bruxelles: Olivier, Paris: Tresse, 1878) Tome
1, pp. 1-16.
I'll key in some passages below, but to summarize, two specific
events are mentioned. The second one is the same one described by
Rey-Flaud (nearly word-for-word the same) and purports to be a
quotation from the original manuscript, although, it is clearly
modernized. It adds a couple of colorful details so I'll include it
below.
There is a footnote--albeit a pretty vague one: "Manuscrit inedit de
feu M. H. Delmotte, pere." Fortunately, A. Delangre gives this same
account in his _le Theatre et l'art dramatique a Tournai._ 1905
pointing out that the official account of the entry makes no mention
of the decapitation scene, but that "une note manuscrite" records it
and that this note is apparently published in the _Feuille de
Tournai_, 23 juillet 1848 (Anyone happen to have THAT in your
library?) Of course, all the records in Tournai were destroyed in a
fire in May 1940 (in an accident NOT related to the war, FWIW)
The other event was the annual commemoration of the crucifixion on
Good Friday in Brussels. A condemned criminel received pardon for
playing the role of Christ. Faber doesn't cite the manuscript
verbatim, so it's a little hard to tell how far they pushed the
realism, although it is clear that they didn't execute the participant.
He says they nailed the victim's hands and feet to the cross, but
then relates that they used bladders of red liquid to simulate the
blood. It sounds to me like they faked the nails. The footnote to
this section reads: "Mme Clement, nee Hemery, _Histoire des fetes
civiles et religieuses, usages anciens et modernes de la Belgique
meridionale._ Avesnes: C. Viereux, 1846, pp. 344-345."
(Has anyone ever seen this book? I've never been able to get my
hands on it--Other references to it that I've encountered have
left me unconvinced of its validity--but I have yet to see it first
hand)
Here is Faber's text:
p. 3
A cote de cette fete [La Fete des Innocents] qui, en elle-meme n'est
qu'une momerie, il faut en citer une autre qui revetait un caractere
beaucoup plus theatral. C'est la celebration du Vendredi-Saint, a
Bruxelles. Pendant longtemps, dans cette derniere ville, on imitait
le crucifiement du Christ, en faisant figurer a cet effet, un
condamne a mort, auquel on accordait sa grace en faveur du personnage
qu'il representait.
Cette ceremonie se passait dans l'eglise des Augustins. Au pied de
l'autel, se dressait un echafaud sur lequel etait place une
tres-haute croix. De chaque cote, regnaient des loges pour les gens
de qualite; une foule innombrable remplissait l'eglise. Avant la
mise en croix, avait lieu une procession qui parcourait les
principaux quartiers de la ville, en figurant le chemin de la croix.
Les confreres, dits de _la Misericorde,_ le visage masque, les pieds
nus, et en habits de la confrerie, ouvraient la marche; puis venaient
des prisonniers, trainant aux pieds, de gros boulets; enfin
arrivaient les religieux Augustins, travestis en juifs, et, au milieu
d'eux, le malheureux charge de representer le Christ, garrotte
couronne d'epines, et revetu de la robe de pourpre. Arrives a
l'eglise, ils faisaient monter le patient sur l'echafaud; [p. 4] puis
ils simulaient la mise en croix. On le depouillait de tous ses
vetements, et on l'etendait sur l'instrument du supplice, sur lequel
on lui clouait les mains et les pieds. On avait meme pousse
l'imitation jusqu'a simuler le sang qui aurait du en couler, et cela
a l'aide de petites vessies pleines de liquide rouge attachees aux
membres et par lesquelles on fixait le supplicie a la croix.
S'il faut en croire les manuscrits qui rapportent ce fait, cette
ceremonie produisait un immense effet sur la multitude.
[...]
P. 14
Apres l'abdication de son pere, le roi Philippe II fit, en cette meme
annee 1549, son entree solennelle a Tournai. La ville se surpassa
pour recevoir dignement ce prince. Dans les registres de la ville,
se trouve une longue description de tout ce qui decorait les rues:
arcs-de-triomphe, fontaines, theatres, etc.
On representa des mysteres sur ces theatres, et si l'on s'en rapporte
a une certaine relation manuscrite, on y donna celui de Judith et
Holopherne, avec un realisme qui n'a pas encore ete atteint dans les
temps modernes, ou cependant l'on se pique d'etre a l'apogee dans
l'espece. Voici cette relation:
Jean de Bury et Jean de Crehan, jures charges de la decoration des
rues, avaient imagine de _rendre au naturel_ l'exploit biblique de
Judith; en consequence, on avait choisi un criminel condamne a estre
tenaille pour remplir le role d'Holpherne; ce malheureux, coupable de
plusieurs assassinats et convaincu d'heresie, avait prefere la
decapitation a l'horrible supplice auquel il etait condamne, esperant
peut-etre qu'une jeune fille n'aurait ne la force, ni le courage de
lui couper la tete; mais les jures ayant eu la meme apprehension,
avaient substitue a la veritable Judith un jeune garcon condamne au
bannissement et auquel on promit sa grace, s'il jouait bien son role.
En effet, lorsque Philippe s'approcha du theatre ou l'on
representait le mystere, la pretendue Judith degaina un cimeterre
bien affile, et, saississant les cheveux [p. 15] d'Holopherne qui
feignait de dormir, lui appliqua un seul coup, avec tant d'adresse et
de vigueur que la tete fut separee du corps. Aux flots de sang qui
s'elancerent du col du supplicie, des applaudissments frenetiques et
des cris d'indignation s'eleverent du milieu des spectateurs, le
jeune prince resta seul impassible, regardant avec curiosite les
convulsions du decapite, et disant aux seigneurs qui
l'accompagnaient: "bien frappe." Ce sang-froid du prince, devant
cette horreur, pouvait faire presager les cruautes qui signalerent
son regne. On dit meme qu'il attacha a sa personne, le jeune homme
qui avait si "bien frappe," et qu'il l'employa a des actes secrets
d'iniquite.
Jesse_Hurlbut@byu.edu
=========================================================================
Date: Fri, 3 Feb 1995 16:16:54 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Joseph Sigalas
Subject: Re: Les Acteurs maudits
In-Reply-To: Message of Fri,
3 Feb 1995 15:41:00 -0500 from
Duane asks a good question, and I for one hope that anyone who responds
will reply to the list. I'm not sure what the answer is, but my guess is
that the Church was suspicious about impersonation in general and
about impersonating God in particular. Can anyone confirm or correct or
elaborate on this idea?
Joseph Sigalas
University of Georgia
=========================================================================
Date: Sat, 4 Feb 1995 00:15:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: NAOMI LIEBLER
Subject: Re: Les Acteurs maudits
Desperately Seeking St. George
Does anyone on PERFORM know where I might find a picture of either a woodcut or
an ink drawing of a St. George beheading in the Sword Dance? Dragon-slayings I
don't need; got plenty of those. I'm looking for a representation of the hero
slain in the ceremonial dance, which I guess would be late medieval to early
modern. The object of the search is a cover illustration for my forthcoming
book.
Alternatively, one of Abraham about to sacrifice Isaac would do, but all the
ones I've seen have an angel staying Abe's hand, which is not at all in the
spirit of the book I need to cover (whose topic is,in part, the representation
of human sacrifice within the discourse of [Shakespearean] tragedy).
I'd be grateful for any good leads to a sword dance illustration especially, and
ASAP, please.
Thanks.
Naomi Liebler
Liebler@apollo.montclair.edu
=========================================================================
Date: Sat, 4 Feb 1995 20:50:56 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Nerida Newbigin
Organization: Faculty of Arts, The University of Sydney, AUSTRALIA
Subject: Terminology
Subject: Time: 11:17 AM
OFFICE MEMO Terminology Date: 5/2/95
I am attempting a series of definitions in relation to fifteenth-century
Florentine sacre rappresentazioni. I wonder if the following key terms in
Italian correlate with the technical terms or scenographic elements used
elsewhere.
*castello - specifically not a castle, but rather a structure representing
the gate of Jerusalem, with an upper storey representing the Upper Room,
scene of the Last Supper, the meal before the Ascension, and the supper at
Pentecost
*monte - an all-purpose mountain suitable for Abraham and Isaac, Ascension,
etc. and written into almost any plot that needs a winch and pulley system
for getting angels down and souls/bodies up to heaven, since these are
concealed under the mountain and operated from below
*residenza/risedenza - not a residence but an ornamental seat for Mary in
the Annunciation, prophets who do their bit and go away to sit down
*volte - normally vaulted arches, used to refer to the rood screen, and
called "le nostre volte", as though they were constructed to accommodate the
plays that were performed on them
*edificio - literally a building, but used exclusively to refer to the
structures of Heaven and Paradise (Cielo and Paradiso are two different
places, and God is in both, in the Ascension play)
*ferro - literally iron, but also used to refer to the ever-changing and
expanding iron frame that was raised and lowered by the winches or
counterweights bearing live angels
I would be grateful for any assistance
Nerida Newbigin, Department of Italian, University of Sydney, Australia
Nerida.Newbigin@Italian.su.edu.au
=========================================================================
Date: Sun, 5 Feb 1995 14:09:14 +0100
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jelle Koopmans
Subject: Re: Les Acteurs maudits
In-Reply-To: <01HMMTXJQH769N81I3@SARA.NL>
The Church Fathers already vehemently condemned theatre and considered an
actor to be a`simia Dei'. Theoretical literature literature describes
them as ministers of Satan. Shortly, I hope to publish a study on the
exclusion of actors in medieval France, where more details can be found.
Jelle Koopmans
French Dept
University of Amsterdam
Spuistraat 134
NL-1012 VB Amsterdam
On Fri, 3 Feb 1995, Duane Kight wrote:
> Does anyone know at what point and why the medieval Church deemed
> actors unworthy to be buried in consecrated ground? I know that actresses
> were considered prostitutes for showing themselves before men, but whence
> springs the marginality of actors? My guess would be that once drama moved
> from the church precincts, the actors were considered blasphemous for
> creating in their own image rather than God's. Replies by e-mail would be
> appreciated ...
>
> Cheers,
>
> Duane
>
> Duane Kight
> dkight@haverford.edu
>
=========================================================================
Date: Sat, 4 Feb 1995 13:42:28 LCL
Reply-To: br@inwave.demon.co.uk
Sender: PERFORM - Medieval Performing Arts
From: Barry Russell
Organization: home (Oxford UK)
Subject: Re: Les Acteurs maudits
In article: <9502040646.aa03125@punt.demon.co.uk> dkight@haverford.edu
writes:
>
> Does anyone know at what point and why the medieval Church deemed
> actors unworthy to be buried in consecrated ground? I know that
actresses
> were considered prostitutes for showing themselves before men, but whence
> springs the marginality of actors? My guess would be that once drama
moved
> from the church precincts, the actors were considered blasphemous for
> creating in their own image rather than God's. Replies by e-mail would be
> appreciated ...
First, one should not overlook *male* prostitution.
Second, while the theatre remained tied to the church, performers
were amateurs who did not depend on the stage for their living. With
the disconnection, professional performance emerged. At the courtly
level, professional performers were paid retainers; at the popular
level, they were itinerants, with all that that implies. Even in
Shakespeare's day ambulant players were equated with "rogues and
vagabonds" in the eyes of the law.
Third, when the first stable professional theatres emerged, allowing
performers to remain more or less _in situ_, they tended to be
located in areas of cities already associated with leisure activities
of which prostitution was one. This is evident both in London and
Paris. In Paris, especially, there remained a strong bonding between
professional performance and prostitution, both in popular, itinerant
entertainment and in the higher echelons of _serious_ drama and opera.
The association between professional performance and prostitution
continued through the 18th and 19th centuries. (Cf. Zola's _Nana_).
It survived in the early 20th century prejudice towards
"chorus girls"; and remains alive and well even today in many parts
of the world -- there is a strong traffic from Europe to Japan
(for example) in teenage female dancers, and I know personally
of one case where a young girl devoted to dance *as art* took
that route and returned home within a few months utterly corrupted.
~~~~~~~~~~~~~~~
Barry Russell : br@inwave.demon.co.uk
=========================================================================
Date: Sun, 5 Feb 1995 19:34:19 LCL
Reply-To: br@inwave.demon.co.uk
Sender: PERFORM - Medieval Performing Arts
From: Barry Russell
Organization: home (Oxford UK)
Subject: Re: Terminology
In article: <9502051741.aa25193@punt.demon.co.uk>
Nerida.Newbigin@italian.su.edu.au writes:
> I am attempting a series of definitions in relation to fifteenth-century
> Florentine sacre rappresentazioni. I wonder if the following key terms in
> Italian correlate with the technical terms or scenographic elements used
> elsewhere.
castello - was taken over by puppeteers to describe the portable
framework (booth) in the upper part of which their glove puppets
appeared.
~~~~~~~~~~~~~~~
Barry Russell : br@inwave.demon.co.uk
=========================================================================
Date: Mon, 6 Feb 1995 08:42:44 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "A. Young"
Subject: Re: Les Acteurs maudits
In-Reply-To: <9502040936.AA17909@jazz.epas.utoronto.ca>
On Sat, 4 Feb 1995, NAOMI LIEBLER wrote:
> Desperately Seeking St. George
>
>
> Does anyone on PERFORM know where I might find a picture of either a woodcut
or
> an ink drawing of a St. George beheading in the Sword Dance? Dragon-slayings I
> don't need; got plenty of those. I'm looking for a representation of the hero
> slain in the ceremonial dance, which I guess would be late medieval to early
> modern. The object of the search is a cover illustration for my forthcoming
> book.
I don't know myself, but I would suggest asking Mike Heaney at the
Bodleian; his main interst is the morris, but I daresay he has some
bibliography on other folk/ceremonial dances. His e-mail address is
heaney@vax.oxford.ac.uk I know he is on REED-L, but I don't think he
subscribes to PERFORM. You also might think of cross-posting your query
to REED-L.
> Alternatively, one of Abraham about to sacrifice Isaac would do, but all the
> ones I've seen have an angel staying Abe's hand, which is not at all in the
> spirit of the book I need to cover (whose topic is,in part, the representation
> of human sacrifice within the discourse of [Shakespearean] tragedy).
Since the whole point of the scriptural narrative is that Abraham was
kept from sacrificing Isaac, I think it would be very unusual to find an
iconographic representation which didn't make that vivid; what about some
figure from classical literature, like Agamemnon sacrificing Iphigenaia?
There must be renaissance illustrations of classical scenes (I daresay a
query to the renaissance list, ficino@vm.utcc.utoronto.ca, would gget a
useful response.
>
> I'd be grateful for any good leads to a sword dance illustration especially,
and
> ASAP, please.
>
> Thanks.
> Naomi Liebler
> Liebler@apollo.montclair.edu
>
Abigail Ann Young
Associate Editor, REED
listowner, REED-L
=========================================================================
Date: Mon, 6 Feb 1995 13:47:13 LCL
Reply-To: br@inwave.demon.co.uk
Sender: PERFORM - Medieval Performing Arts
From: Barry Russell
Organization: home (Oxford UK)
Subject: Theatre terminology
> Nerida Newbiggin wrote : I wonder if the following key terms
> in Italian correlate with the technical terms or scenographic
> elements used elsewhere.
Dear Nerida:
Wow! That sounds like my kind of theatre! Exploding puppets...
I must pass your note onto a friend of mine who does this sort
of thing on a *huge* scale - he'll be delighted to know he has
such ancient antecedents.
Since you took the trouble to respond, I'll raise another term
with you, which was not on your original list.
From my explorations in French theatre I was left with an interesting
terminological topic on which you may be able to cast light. The
French term is _paradis_, cleary derived from the Passion Play.
In the 16thC this refers to the uppermost section of a stage
structure. (Is there an Italian equivalent?) During the 17thC
it has come to refer to the balcony that runs around the sides and
rear of the auditorium at the same level as the original _paradis_.
In the Parisian fairgrounds of the early 18thC the term had lost
its original connection and had moved from singular to plural: it
became _les parades_, and audience members sat _aux parades_. The
fairground theatres developed an external balcony at the same height,
and no doubt connected to the internal balcony. On this external
balcony they performed clowning, acrobatics, etc., "aux parades",
to encourage people outside the theatre to pay an entrance fee
and come in. As the nature of what was performed _aux parades_
developed, a generic term for such a performance emerged: _une
parade_, which came to indicate a short, mixed-genre comedy
involving music. This term became detached entirely from the
theatre building and came to denote the "parade" (French and English)
in which actors and performers strode in costume through the town
prior to performance to pick up people en route and bring them to
the site. Hence the Circus Parade. Meanwhile, and my last note on
the topic, in the 19thC French boulevard theatre, the original term
_le paradis_ re-emerged, denoting now the highest balcony at
the rear of the auditorium - the cheapest place in the house, since
the furthest from the stage. In that wonderful movie, _Les Enfants
du Paradis_, quite aside from the religious pun, there is a superb
theatrical pun: for the term identifies the poor who sat in _le
paradis_ with the fairground performers who performed _aux parades_.
~~~~~~~~~~~~~~~
Barry Russell : br@inwave.demon.co.uk
=========================================================================
Date: Mon, 6 Feb 1995 09:22:34 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Stephen Wagner
Subject: Re: Les Acteurs maudits/seeking St. George
For images of St. George, check the series called Iconography of the Saints
in the Painting of Italy. Eds George Kaftal and Fabio Bisogni (Florence:
Sansoni, 1978). There are four or five volumes in this series based on
geographical areas. A good bet is the volume on North East Italy. In this
volume, George begins on p. 348.
Good luck in your search.
Steve Wagner
Florida State Univesity
Stephen M. Wagner
=========================================================================
Date: Mon, 6 Feb 1995 09:29:03 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Lawrence Clopper
Subject: Re: Les Acteurs maudits
Duane Knight--
I suspect the practice began long before you suggest. In the early
Christian centuries, there was enormous antagonism towards the theatre and
actors. Actors were not allowed to become Xians unless they gave up their
profession, etc. These early canons were incorporated into the canon law
collections of the later Middle Ages.
Larry Clopper
=========================================================================
Date: Tue, 7 Feb 1995 09:24:05 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Graham A. Runnalls"
Organization: Arts
Subject: Re: Theatre terminology
Dear Barry Russell,
I was interested to read you two responses to Nerida Newbigin's
query about terminology. Your post-medieval explorations of outdoor
theatre sound fascinating.
As a purely Medieval theatre historian (at least as far as research
is required), I would make a few comments on your second letter to
Nerida. You may well already know some of what I am about to say.
"Paradis" doesn't just go back to French Passion Plays, but to all
Medieval French religious drama. It is used from 12th C "semi-
liturgical" drama (Jeu d'Adam) right through to mid-sixteenth-century
mystery plays, both Passion Plays and saints' plays. The connection
between the Medieval use of the term "Paradis" and the modern sense
(of "in the Gods" - or in Modern French also "au poulailler" = "in
the flea-pit") seems obvious, but I would be less happy about
including "parades" within this etymology.
Certainly by the later Middle Ages, Paradis was more than just a
"set" or a "decor" in a Medieval outdoor theatre. It was part of
the theatre building itself. For proof, I would refer you
(iconographically) to the famous Fouquet Miniature of the *Martyre de
sainte Apolline*, and (archivally) to the *Compte du Mystere de la
Passion de Chateaudun 1510* (ed. Couturier and Runnalls, Chartres
1991), where the financial accounts frequently refer to the *paradis
des eschaffaulx" (= the Paradise part of the complete theatre
building). You can see from the Fouquet that the outdoor
theatre in the round consists of a circle of raised boxes (*loges*)
around a central, largely empty, playing area. Under the raised boxes
are the places occupied by the "ordinary public", who were in the
*pantes* or *rangs* or *tribunes* (this last is a
modern term, also used for standing areas for spectators at football
pitches). Some of the *loges* are in fact "sets" or "decors", e.g.
Paradis, Hell, the throne of the Emperor (who is actually down in the
*aire de jeu* overseeing Sainte Apolline's torture - her tooth is
pulled out with some enormous *tenailles*). Other (more) *loges* are
for spectators. But don't forget that some spectators were also
actors, and would come down from their *loge* to act their role,
before going back to their *loge*. (At Chateaudun, those people
renting *loges*, who were also actors, got a stlg2, 5 sols discount on
the price of the *loge*.)
What is curious is that nowadays, the paradis seats are the
cheapest. In the MA, the loges were the most expensive, rented for
the full duration of the plays, and big enough to take a family. At
Chateaudun, the prices of the loges varied; those closest to Paradis
were cheaper than the central ones - although a loge near Hell was
obviously a good place to be.
As for *parades* coming from *paradis*, I am worried about the change
in (a) function; (b) number - from singular to plural; (c)
*especially* gender - from masculine to feminine; (d) pronunication.
My instinct is to reject this proposed etymology, but, of course,
I haven't worked on it. I would suggest you looked up the word in the
FEW (Franzosischer Etymologischer Worterbuch), to discover its
variants and ramifications throughout its history.
Graham Runnalls
Professor of French
University of Edinburgh
(other email address g.a.runnalls@ed.ac.uk)
=========================================================================
Date: Tue, 7 Feb 1995 14:55:33 LCL
Reply-To: br@inwave.demon.co.uk
Sender: PERFORM - Medieval Performing Arts
From: Barry Russell
Organization: home (Oxford UK)
Subject: Re: Theatre terminology
Dear Graham,
I enjoyed your response! When detail of that kind comes back
it shows the Internet working at its best. Thank you.
The derivation of "parades" from "paradis" imposed itself
on me during a detailed study of the development of Parisian
fairground entertainments that was based mostly on 17th and 18thC
ms sources. I accepted it because I saw it happen, as it were.
But to quote chapter and verse I will need to retrieve material
from where I archived it some years ago. (That may happen shortly.)
Without the references, I can only ask you to consider the
particular case of the French generic term _parade_ to denote
the type of entertainment I mentioned in my earlier posting.
This use of the term is stable before the first half of the 18thC,
and reflects a well-defined architectural evolution in wooden
booth theatres. If _une parade_ was not named after _les parades_,
on which it was performed; and if _les parades_, denoting the
external balconies on a fairground booth theatre, obtained their
name *without* reference to _le paradis_, denoting an internal
balcony that ran around the auditorium at the same height, then
I feel the burden is on you (or a.n.other) to produce a more
convincing derivation.
(1)paradis = high stage structure representing paradise
(2)paradis = internal balcony at same height
(3)parades = external balconies at same height
(4)parade = work performed on external balcony
(5)parade = same work performed away from theatre
From (5) to "Circus parade" is less of a jump, conceptually, than
one might imagine when one considers, first, that the two activities
shared the same function - i.e., to whip up trade; and, second, when
one remembers (though this is not generally known) that the people
who built the Parisian fairground theatres in the 1690s and 1700s
also invented the modern circus ring. I know - I should have
published all this stuff. But that's another story.
:-)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Barry Russell : br@inwave.demon.co.uk
=========================================================================
Date: Tue, 7 Feb 1995 21:26:38 +0100
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jelle Koopmans
Subject: Re: Theatre termino
In-Reply-To: <199502071522.AA02430@cclsun01.let.uva.nl>
On Tue, 7 Feb 1995, Barry Russell wrote:
> Dear Graham,
>
> I enjoyed your response! When detail of that kind comes back
> it shows the Internet working at its best. Thank you.
>
> The derivation of "parades" from "paradis" imposed itself
> on me during a detailed study of the development of Parisian
> fairground entertainments that was based mostly on 17th and 18thC
> ms sources. I accepted it because I saw it happen, as it were.
> But to quote chapter and verse I will need to retrieve material
> from where I archived it some years ago. (That may happen shortly.)
>
> Without the references, I can only ask you to consider the
> particular case of the French generic term _parade_ to denote
> the type of entertainment I mentioned in my earlier posting.
> This use of the term is stable before the first half of the 18thC,
> and reflects a well-defined architectural evolution in wooden
> booth theatres. If _une parade_ was not named after _les parades_,
> on which it was performed; and if _les parades_, denoting the
> external balconies on a fairground booth theatre, obtained their
> name *without* reference to _le paradis_, denoting an internal
> balcony that ran around the auditorium at the same height, then
> I feel the burden is on you (or a.n.other) to produce a more
> convincing derivation.
>
> (1)paradis = high stage structure representing paradise
>
> (2)paradis = internal balcony at same height
>
> (3)parades = external balconies at same height
>
> (4)parade = work performed on external balcony
>
> (5)parade = same work performed away from theatre
>
> From (5) to "Circus parade" is less of a jump, conceptually, than
> one might imagine when one considers, first, that the two activities
> shared the same function - i.e., to whip up trade; and, second, when
> one remembers (though this is not generally known) that the people
> who built the Parisian fairground theatres in the 1690s and 1700s
> also invented the modern circus ring. I know - I should have
> published all this stuff. But that's another story.
>
> :-)
>
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Barry Russell : br@inwave.demon.co.uk
>
Alain Rey's Dictionnaire historique de la langue francaise derives parade
from parer (occitan parada in 1366) and states that `de parade'
designates `objets d'apparat' but beacame more specialized in a military
sens in the XVIth century `exihibition de forces militaires en face de
l'ennemi'. In the XVIIth century, parade would have acquired its
theatrical sens `burlesque scene played before a spectacle'.
As for the parade de cirque, Rey makes it clear that we have a wholly
different etymology there, because it comes from parade (1575) after the
Spanish parada (`action d'arreter court un cheval').
Jelle Koopmans
French Dept. Amsterdam
=========================================================================
Date: Wed, 8 Feb 1995 15:46:53 CET
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: kobra
Subject: I...
I am looking for a contact with Prof. Robin Cormack. I will be very
grateful for his actual address.
Kobra
Magda Jankowska,
ul. Mickiewicza 23 m.49
01-517 Warszawa
Poland
Warsaw University
=========================================================================
Date: Wed, 8 Feb 1995 10:34:29 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Michelle R. Wright"
Subject: paradis
In the discussion of "paradis" there does not seem to have been
any mention of "parvis"--the area in front of the church entrance,
which seems to derive from the location of "paradis" in this area
in early liturgical dramas. I am not sure if "parvis" troubles the
association of "paradis" with "parades" (does anything prevent
the two modern French words from having the same origin?), but
certainly the "parvis" is part of the story.
Michelle Wright
University of Miami
mwright@umiamivm.ir.miami.edu
=========================================================================
Date: Wed, 8 Feb 1995 22:53:34 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Eric David Lewandowski
Subject: Theatre History Texts (fwd)
My name is Eric D. Boldt-Lewandowski, I am currently working on
my Masters Thesis at Bowling Green State University in Ohio. The subject
of my thesis involves the impression of medieval theatre history that an
introductory, general survey theatre history textbook leaves on a
"passive" student of theatre history. From the texts that I have started
with, ie. The Living Stage and The Play is the Thing, I have already
discovered varying perspectives as to how medieval theatre is presented.
More than likely, the impression is related to the objectives stated in
the preface of the text.
I would like to toss out a few questions on my topic . . . what
texts are you using or had for and introduction to theatre history
class? What is your opinion as to the impression of medieval theatre
left by these texts, do you agree with this perception? research
resources? any comments at all?
Thank you, Eric D. Boldt-Lewandowski, ericlew@bgnet.bgsu.edu
=========================================================================
Date: Thu, 9 Feb 1995 08:52:30 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Les Acteurs maudits
In-Reply-To: Your message dated "Fri,
03 Feb 1995 16:16:54 -0500 (EST)"
<199502040353.WAA03406@gw.wmich.edu>
With regard to nervousness about playing God, have a look at Bob Hanning's
"You have begun a parlous pleye': The Nature and Limits of Dramatic Mimesis
as a Theme in Four Middle English Fall of Lucifer Plays," COMPARATIVE DRAMA 7
(1973) 22-50, reprinted in DRAMA IN THE MIDDLE AGES (AMS Press, 1982). The
nervousness about playing God in A TRETISE OF MIRACLIS PLEYINGE was not
limited to Wycliffites, and my introduction and commentary in my edition may
be useful to you.
Clifford Davidson
=========================================================================
Date: Thu, 9 Feb 1995 08:59:55 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Les Acteurs maudits
In-Reply-To: Your message dated "Fri,
03 Feb 1995 15:41:00 -0500" <199502040646.BAA07134@gw.wmich.edu>
With regard to actors not being allowed to be buried in consecrated ground.
Can you supply the reference for this? Actors were denied baptism early on,
but Aquinas allowed that actors and entertainers were okay so long as they
did not meddle with naughty or blasphemous things.
Cliff Davidson
=========================================================================
Date: Thu, 9 Feb 1995 11:30:42 -0800
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Terry Sidhu
Subject: UNSUBSCRIBE
In-Reply-To: <9501150812.AA25734@unixg.ubc.ca>
UNSUBSCRIBE me from this Listserv
=========================================================================
Date: Thu, 9 Feb 1995 11:32:29 -0800
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Terry Sidhu
Subject: UNSUBSCRIBE
In-Reply-To: <9501161911.AA10564@unixg.ubc.ca>
UNSUBSCRIBE me to this Listserv
=========================================================================
Date: Fri, 10 Feb 1995 10:43:15 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Mrs M Twycross
Subject: Re: Theatre History Texts (fwd)
In-Reply-To: from "Eric David Lewandowski" at Feb 8, 95 10:53:34 pm
Try Cambridge Companion to Medieval English Theatre. Previously to that
I've been using Bill Tydeman's The Theatre in the Middle Ages book which
does however give the impression that everything was the same all over
Europe. For texts in translation, Meredith and Tailby The Staging of
Religious Drama in Europe in the Later Middle Ages. I haven't met
either of your books, but they don't sound serious.
Meg Twycross
=========================================================================
Date: Fri, 10 Feb 1995 11:57:06 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Theatre History Texts (fwd)
In-Reply-To: Your message dated "Fri,
10 Feb 1995 10:43:15 +0000"
<199502101157.GAA17237@gumby.cc.wmich.edu>
I have just read Meg Twycross' recommendation concerning texts on the
medieval theater, and can confirm that the new CAMBRIDGE COMPANION is indeed
a very good choice. I am in the process of writing a review of it for a
journal, and hence have been looking at it very carefully. Of course, it
deals with vernacular English drama only, and the advantage of Bill Tydeman's
book is that it is not so focused in scope. There are also some advantages to
the Meredith-Tailby collection with regard to staging practices since it also
includes continental material. For the liturgical drama in England, may I
recommend, at least a collateral library reading, Pamela Sheingorn's THE
EASTER SEPULCHRE IN ENGLAND, which contains the texts of the English Easter
and Good Friday plays/ceremonies, along with a fine introduction -- and also
facsmiles of the pages in the REGULARIS CONCORDIA etc.
I may add that Medieval Institute Publications has also reprinted the special
issue of COMPARATIVE DRAMA on Continental medieval drama that might be useful
both for instructor and as library reading. The title is MEDIEVAL DRAMA ON
THE CONTINENT OF EUROPE and contains Hansjurgen Linke's overview of German
drama which is pretty much the last word. It is a paperback, available from
MIP directly for $12. The COMPARATIVE DRAMA issue itself is, I believe, sold
out, so this is directed at non-subscribers.
Clifford Davidson
=========================================================================
Date: Fri, 10 Feb 1995 17:28:27 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: RIGGIO@ADS.CC.TRINCOLL.EDU
Subject: Re: Theatre History Texts (fwd)
Dear all:
Instead of the CAmbridge Companion, which - let me be the dog in the manger -
I think is NOT a very good book overall (see Martin Stevens' review for
further confirmation of its British bias and its weakness as an introduction
to drama), I recommend Glynn Wyckham's introductory book,, which I find
far better. Tydeman is out of print.
Best,
Milla Riggio
=========================================================================
Date: Fri, 10 Feb 1995 17:33:39 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: Re: Theatre History Texts (fwd)
Milla: Thanks for your dissenting opinion on the Cambridge Companion.
Do you recall where Martin Stevens' review came out?
--steve wright
=========================================================================
Date: Fri, 10 Feb 1995 17:38:44 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: DScriptorium contents and access?
Jesse Hurlbut or other knowledgeable souls: I am helping to put tgether
a little demonstration to show the President of our university how
useful networked computers can be for those of us in the humanities.
One of the things I would like to include is a glimpse at DScriptorium.
Can one get into this archive via WWW? If so, what is the URL? If
the only way in is via FTP, can someone provide the new address? I
tried the last one I have (slow.inslab.uky.edu), but the lights are
out and o one's home. Many thanks in advance foryour guidance.
--Steve Wright
wrights@cua.edu
=========================================================================
Date: Sat, 11 Feb 1995 17:10:51 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: BARRETTA@NYUACF.BITNET
Subject: Performance Studies conference registration information: March
23-26
please post
F I R S T A N N U A L
PERFORMANCE STUDIES CONFERENCE
"The Future of the Field"
Thursday March 23-Sunday March 26, 1995
Department of Performance Studies
Tisch School of the Arts
New York Univerity, NY
We invite you to attend the First Annual Performance Studies
Conference, "The Future of the Field." The program will
feature over 50 events, including panels, roundtable
discussions, practical workshops, and performances. Over 180
scholars, graduate students, and artists will participate as
speakers, moderators, and performers. In all, our
participants will represent over 40 academic or artistic
institutions from around the country and abroad. Our
international participants will hail from France, the former
Yugoslavia, Slovenia, Canada, England, Israel, and Australia.
The conference will feature four plenary sessions and seven
"breakout" sessions, during which smaller panels, seminars,
and performances will be held concurrently. Many panels
address interdisciplinary topics and aim to expand and
complicate issues in performance scholarship. Major areas of
inquiry include: new dance scholarship; theatre research; new
technologies and performance studies; queer performativity
and performance; gender in/as performance; reading/writing
the body; race and performance scholarship; and performing
new identities.
Performances will be held each night. A Kick-Off cabaret will
be held on Thursday night. The Friday and Saturday night
events at a nearby nightclub, Fez, will feature Yareli
Arizmendi, Circus Amok, The Five Lesbian Brothers, Marianne
Goldberg, Dan Hurlin, Guillermo Gomez Pena, La Grand Scena
Opera, Holly Hughes, Salley May, Peggy Pettitt, and Carmelita
Tropicana.
This conference inaugurates an annual event to be hosted on
alternate years by the departments of Performance Studies at
the Tisch School of the Arts and at Northwestern University.
The Mid-Atlantic Chapter of the Society of Ethnomusicology
will hold their annual conference concurrenty on the NYU
campus. The theme of this year's MACSEM conference is
"Ethnomusicology and Performance Studies." The two
conferences will co-sponsor a panel, and registered members
of the Performance Studies Conference will be welcome at
selected MACSEM events.
Conference events on Friday and Saturday, March 24 & 25, are
scheduled from 9am to 6:30 pm, followed by a reception on
Friday and a Dinner on Saturday. On Sunday, events begin at
9am and end at 2pm. A book fair will be held throughout the
conference.
==========================================
IT IS NOT POSSIBLE TO REGISTER BY E-MAIL.
==========================================
You may download or copy the following form, or send a letter
including your name, address, phone number, institutional
affliliation (if any) and a check payable to New York
University for the appropriate amount (remember to include
both registration and dinner if you choose) to:
Jill Lane and Amanda Barrett
Directors, First Annual Performance Studies Confernence
Department of Performance Studies, 6th Floor
721 Broadway
NYU, Tisch School of the Arts
New York, NY 10003
Phone: (212) 998-1624
Fax: (212) 995-4960
Email: PS-CONF@acfcluster.nyu.edu
-------------------------------------------------------------
Performance Studies Conference Registration Form
**Early registration: postmarked by February 21
[ ] $35 [ ] Students $15
Registration after February 21
[ ] $40 [ ] Students $20
(On-sight registration:
Students $50; students $30)
**Special dinner Saturday March 25 in the spectacular
Snow Dining Room: Don't miss it: great views, open bar,
and a chance to get to know your colleagues!
(Dinner reservations must be made by March 5, 1995.)
[ ] $30
[ _______ ] TOTAL
Name:
Address:
Phone number:
Institutional affliliation (if any):
E-Mail address:
-------------------------------------------------------------
Hotel information:
We recommend that you make your reservation at one of the
following hotels as soon as possible:
The Washington Square Hotel
103 Waverly Place. Reservations: (212) 777-9515
European-style hotel on Washington Square. Double bed, $120;
2 twin beds or 1 queen sized bed, $120; quad (2 doubles)
$142. Includes continental breakfast.
The Grammercy Park Hotel
2 Lexington Avenue at 21st Street.
Reservations: 1-800-221-4083
Overlooks Gramercy Square Park. Rates range from $125-$140
per night.
The Carlton Arms Hotel
160 East 25th Street. Reservations: (212) 679-0680
Funky student-style accommodations, a bit of a walk from NYU.
Rates: single $40-$50; double $50-60; triple $75.
=========================================================================
Date: Sat, 11 Feb 1995 22:41:13 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: RIGGIO@ADS.CC.TRINCOLL.EDU
Subject: Re: Theatre History Texts (fwd)
Dear Steve:
I've tried twice to write you privately and gotten both messages bounced
back, so you've got to get this through the public medium. Sorry to
anyone not interested. Martin Stevens' review of the Beadle Companion
to Drama will be coming out this fall in Vol. 17 of Studies in the
Age of Chaucer. Martin praises Meg Twycross's essay but feels
generally that the book is not a bold book and that, overall, it
reflects an absence of interest in social text.
Best,
Milla Riggio
=========================================================================
Date: Fri, 17 Feb 1995 15:43:03 +1100
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: g.beattie@UWS.EDU.AU
Please forward this notice
Australasian Drama Studies Association CONFERENCE 95 - 6 to10 JULY 1995
Department of Theatre Studies, University of New England
Armidale, New South Wales., Australia
PLAY ...theatre into theory into theatre...
Call for Papers Presentations, Workshops, Performances, Panel Discussions
* Show off your favourite theoretical approach.
* Discuss your recent theatre practice.
* Analyse new / old theatre performance(s)
What is theory contributing to practice?
What is practice contributing to theory?
How can the two be better linked?
How can the two be better separated?
Feminism
Post-structuralism
Semiotics
The Act of Thinking
Post-colonialism
Queer theory
Carnival
Deconstruction
Etc.
Interculturalism
Cross culturalism
New Historicism
Old Historicism
Gender Studies
Anti-theory
Anti Practice
Anti Theatre
Performativity
Psychoanalysis
Twelfth Night: or
=EF Deadline for offers: 1 March 1995.
=EF Papers should generally be either 20 or 30 minutes long,
workshops 2
hours.
=EF Please forward a title and 200 word abstract by 31 March 1=
995,
indicating preferred length.
Contact:
Adrian Kiernander
Andrew McCue
Lorraine Herbert
Jenirose Hall
Department of Theatre Studies
University of New England
Armidale, N.S.W., 2351
Australia
Phone (067) 73 2149
Fax. (067 &3 3757
E-mail akiernan@metz.une.edu.au
=========================================================================
Date: Tue, 21 Feb 1995 10:21:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: stephen greenberg
Subject: CALL FOR PAPERS - NACBS
A LAST REMINDER! ! !
NORTH AMERICAN CONFERENCE OF BRITISH STUDIES
1995 MEETING, Washington, D.C.
CALL FOR PAPERS
The North American Conference on British Studies will hold
its annual meeting in conjunction with the Mid-Atlantic
Conference on British Studies at the ANA Hotel, Washington,
D.C. on October 5-8, 1995.
The NACBS and MACBS seek participation by scholars in all
areas of British history and culture, including graduate
students and scholars from abroad. Panelists are
encouraged to become members of the NACBS. Proposals may
consist of individual papers or entire sessions on a common
theme. In view of the anticipated number of submissions, the
larger number of session will include three papers (each
lasting 20 minutes), a chair and a commentator. Proposals
for roundtable discussions are welcome. A proposal should
include a 200-word abstract for each paper and a one-page
curriculum vitae for each participant, including chairs and
commentators. The Program Committee will undertake to find
suitable chairs and commentators for sessions proposed
without them. As a rule, participants will not be permitted
to take part in more than one session, but participation at
the Vancouver meeting does not preclude submission of
proposals for 1995.
All proposals for papers and sessions should be submitted by
March 15, 1995 to:
Professor Dorothy O. Helly
Program Chair, MACBS
Department of History
Hunter College CUNY
695 Park Avenue
New York, New York 10021
Phone: 212-772-5546 Fax: 212-772-5545
E-Mail: DOHHC@CUNYVM.CUNY.EDU
=========================================================================
Date: Tue, 21 Feb 1995 20:27:17 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Terry Belanger
Subject: Rare Book School 1995
Readers of this bulletin board may be interested to know about some of
the short courses offered at Rare Book School (RBS) to be held at the
University of Virginia this summer:
Course Instructor(s)
History of the Printed Book in the West Martin ANTONETTI
Latin Paleography, 1100-1500 Albert DEROLEZ
(aimed at those with previous formal exposure to paleography)
Intro to Medieval & Early Renaissance Book-
binding Structures Christopher CLARKSON
History of European and American Timothy BARRETT and
Papermaking John BIDWELL
Type, Lettering, and Calligraphy,
1450-1830 James MOSLEY
European Bookbinding, 1500-1800 Nicholas PICKWOAD
(concentrating on structure rather than decoration)
European Decorative Bookbinding Mirjam FOOT
The Company of Stationers to 1637 Peter BLAYNEY
Book Production in 16th-century France Jeanne VEYRIN-FORRER
(to be taught in French)
Lithography in the Age of the Handpress Michael TWYMAN
The American Book in the Industrial
Era, 1820-1914 Michael WINSHIP
Book Illustration to 1890 Terry BELANGER
(The identification of process)
Publishers' Bookbindings, 1830-1910 Sue ALLEN
Introduction to Descriptive Terry BELANGER and
Bibliography David FERRIS
Collecting Rare Materials in Anglo- Morris L. COHEN and
Saxon Law David WARRINGTON
How to Research a Rare Book D. W. KRUMMEL
Introduction to Electronic Texts David SEAMAN
These are all five-day (M-F) non-credit courses aimed at academics,
curators, conservators, and collectors. In 1994, RBS (founded at
Columbia University in 1983) offered 28 courses taken by 328 students;
30 courses in all are offered this year, each to take place within a
five-day period between 10 July and 11 August 1995. For an electronic
copy of the RBS 1995 brochure, email a request to biblio@virginia.edu.
--
Terry Belanger : University Professor : University of Virginia
Book Arts Press : 114 Alderman Library : Charlottesville, VA 22903
Tel: 804/924-8851 FAX: 804/924-8824 e-mail: belanger@virginia.edu
=========================================================================
Date: Thu, 23 Feb 1995 21:37:17 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Michael Gamer
Subject: CALL FOR PAPERS
Michigan Feminist Studies, an interdisciplinary journal edited by
graduate students at the University of Michigan, is calling for
submissions for its 10th (1995-96) issue. The theme of this upcoming
issue is "Differences Among Women."
Please submit manuscripts of 4000-6000 word length and double spaced.
Please be sure your footnotes (no endnotes) follow the MLA stylesheet.
All submissions should include:
--3 copies
--A 150-200 word abstract
--Institutional affiliation
--Address, phone number, and e-mail address
--A brief biographical note
Please send materials to:
Michigan Feminist Studies
Women's Studies Department
224 West Engineering Building
University of Michigan
Ann Arbor, MI 48109-1092
Deadline: March 15, 1995
Our e-mail address is: michigan feminist studies@um.cc.umich.edu
Note: The theme for the next issue is meant to be interpreted broadly.
We apologize for any duplication of this notice on this or any other list.
=========================================================================
Date: Thu, 23 Feb 1995 22:40:52 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "cfk@strauss.udel.edu"
Subject: info
please subscribe me to this list, or send me info how. Thanks
cfk@strauss.udel.edu
=========================================================================
Date: Fri, 24 Feb 1995 10:00:14 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: pageant wagons
In-Reply-To: Your message dated "Thu,
23 Feb 1995 21:37:17 -0500" <199502240830.DAA17661@gw.wmich.edu>
In working on a book on Technology, Guilds, and the Medieval English Theater,
I am still struggling with the EXACT design of the steering mechanism of the
medieval wagon (assuming that the pageant wagons at York, Coventry, and
Chester did usually have steering mechanisms). Does anyone know of an
illustration that gives all the details? I am not certain that later wagons
do not involve some improvements on the medieval design, and would like to be
able to include an illustration that is contemporary with the plays, if one
is available. Continental pageant wagon illustrations help but do not solve
the problem entirely.
The other areas on which I have been working have involved such matters as
ship construction (for Noah's ark especially), textiles (especially since the
textile guilds were deeply involved in the plays), tools (as in the building
of the ark and the Crucifixion), and mechanisms for raising and lowering
actors in the Ascension, Assumption, and Last Judgment plays. (Does anyone
know of any evidence of the use of counterweights, for example?)
Cliff Davidson
The Medieval Institute
Western Michigan University
616-387-8753
=========================================================================
Date: Fri, 24 Feb 1995 12:37:55 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Michael D. Swanson"
----- Begin message from SMTP%"ARTMGT-L%BINGVMB.BITNET@ubvm.cc.buffalo.edu"
24-Feb-95
From: SMTP%"ARTMGT-L%BINGVMB.BITNET@ubvm.cc.buffalo.edu" 24-FEB-1995 01:02
To: Multiple recipients of list ARTMGT-L
CC:
Subj: Govt censorhip (fwd)
This message is in MIME format. The first part should be readable text,
while the remaining parts are likely unreadable without MIME-aware tools.
--Boundary (ID wYCXCArnlW5kg9F5hPwfVg)
Content-Type: TEXT/PLAIN; CHARSET=US-ASCII
I'm not sure if I'm doing this right, but attached to this should be a
notice about a pending senate bill to censor the Internet. Thought it
would be worth your attention.
--Boundary (ID wYCXCArnlW5kg9F5hPwfVg)
Content-Type: MESSAGE/RFC822
Content-ID:
Date: Thu, 23 Feb 1995 12:00:00 EST
From: "owner-gaynet@queernet.org"
Subject: IMPORTANT! Government censorship of internet
To: "gaynet@queernet.org"
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Posting-date: Thu, 23 Feb 1995 05:00:00 EST
Importance: normal
A1-type: MAIL
This is an email message I recieved and I thought it was important.
Sorry about the length for those of you reading digests.....
Gilbert
*****************************
Hello everyone...
A matter has come to my attention that is of the utmost
importance to all of us online.
Simply put, a couple of senators have proposed a particularly
heinous piece of legislation titled the "Communications
Decency Act of 1995" (Senate Bill S. 314). Basically, the
bill would subject all forms of electronic communication --
from public Internet postings to your most private email --
to government censorship. The effects of the bill onto the
online industry would be devastating -- most colleges and
private companies (AOL, Compuserve, etc.) would probably have
to shut down or greatly restrict access, since they would be
held criminally liable for the postings and email of private
users.
Obviously, this bill is designed to win votes for these senators
among those who are fearful of the internet and aren't big
fans of freedom of speech -- ie., those who are always trying to
censor "pornography" and dirty books and such. Given the
political climate in this country, this bill might just pass
unless the computer community demonstrates its strength as a
committed political force to be reckoned with. This, my friends,
is why I have filled your mailbox with this very long message.
A petition, to be sent to Congress, the President, and the media,
has begun spreading through the Internet. It's easy to participate
and be heard -- to sign it, you simply follow the instructions
below -- which boil down to sending a quick email message to a
certain address. That's all it takes to let your voice be heard.
(You know, if the Internet makes democracy this accessible to the
average citizen, is it any wonder Congress wants to censor it?)
Finally, PLEASE forward this message to all your friends online.
The more people sign the petition, the more the government will
get the message to back off the online community. We've been doing
fine without censorship until now -- let's show them we don't plan on
allowing them to start now. If you value your freedoms -- from
your right to publicly post a message on a worldwide forum to your
right to receive private email without the government censoring it --
you need to take action NOW. It'll take fifteen minutes at the most,
a small sacrifice considering the issues at hand. Remember, the age
of fighting for liberty with muskets and shells is most likely over;
the time has come where the keyboard and the phone line will prove
mightier than the sword -- or the Senate, in this case.
Yours in liberty,
-don
|
| Here's what you have to do to sign the petition:
|
| send an e-mail message to: S314-petition@netcom.com
| the message (NOT the subject heading) should read as follows:
| SIGNED
| eg. SIGNED lsewell@leland.Stanford.EDU Laura Sewell YES
|
| If you are interested in signing the petition, I would highly suggest
| investigating the details of the situation. You can find out more on
| the Web at http://www.wookie.net/~slowdog or in the newsgroup
| comp.org.eff.talk
That's all there is.... please help!
E N D O F M E S S A G E
=============================== ============================
Gilbert John Estrada Tulane Medical Center
Data Supervisor School of Medicine
Phone: (504) 588-5293 Department of Biochemistry
Fax: (504) 584-1611 1430 Tulane Avenue, SL43
Implant@mailhost.tcs.tulane.edu New Orleans, LA 70112, USA
--Boundary (ID wYCXCArnlW5kg9F5hPwfVg)
Content-Type: MESSAGE/RFC822
Content-ID:
Date: Thu, 23 Feb 1995 18:59:00 EST
Subject:
MIME-version: 1.0
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Posting-date: Thu, 23 Feb 1995 18:59:00 EST
Importance: normal
A1-type: DOCUMENT
RFC-822-headers:
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Date: Thu, 23 Feb 1995 11:00:41 -0100
From: implant@mailhost.tcs.tulane.edu (Estrada, Gilbert)
Subject: IMPORTANT! Government censorship of internet
Sender: owner-gaynet@queernet.org
Sender: owner-gaynet@QueerNet.ORG
To: gaynet@queernet.org
Message-id: <199502231657.KAA07883@mailhost.tcs.tulane.edu>
X-Envelope-to: "JERRY FLOYD%A1%WBHQB"@mr.worldbank.org
Precedence: bulk
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23 Feb 1995 20:56:09 -0500
Date: Thu, 23 Feb 1995 17:54:27 -0800
Reply-To: Arts Management Discussion Group
Sender: Arts Management Discussion Group
From: Donovan Gray
Subject: Govt censorhip (fwd)
X-To: Arts Management List ,
List Nonprofit
To: Multiple recipients of list ARTMGT-L
----- End forwarded message
=========================================================================
Date: Fri, 24 Feb 1995 14:51:37 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jim Fisher
Organization: Wabash College
Subject: Hrosvitha
I would be interested in hearing from anyone on this list who can tell me
about 20th century productions of Hrosvitha's play, PAPHNUTIUS. I am
working on an article on Edith Craig's Pioneer Players production of the
play in 1914, which at the time was described as the first modern
production of the play.
Thank you. JAMES FISHER
Jim Fisher
c/o Theater Dept.
Wabash College, Crawfordsville, IN 47933
FisherJ@Wabash.EDU
=========================================================================
Date: Sat, 25 Feb 1995 12:46:01 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: Re: Hrosvitha
James Fisher: Without spoiling all the suspense of your forthcoming
article, can you give us a few details about the 1914 performance of
Paphnutius? Who was Edith Craig? Where and for what kind of audience
did the performance take place? Was it in English or Latin? How did
the Pioneer Players stumble across the text in the first place?
Now that you mention it, the history of the revival of medieval
performances early in this century would make a fascinating study in
its own right.
Steve Wright
Catholic University
=========================================================================
Date: Sat, 25 Feb 1995 17:59:11 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jesse Hurlbut
Organization: Brigham Young University
Subject: Order of Miracles de N-D par personnages
Do we know if the order of the miracle plays in the Cange mss.
is chronological? Was only one play performed each year?
Jesse_Hurlbut@byu.edu
=========================================================================
Date: Mon, 27 Feb 1995 00:37:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Robert Clark
Subject: Cange ms.
In response to Jesse's query, yes, the order of the plays in the Cange'
ms. is chronological. The research of Rudolf Glutz and Graham Runnalls
(I should have let Graham answer this one!) has proved this beyond any
doubt. The first play was performed around 1339, the last in 1382. I
also had a go at the famous erasures in the manuscript and was able to
corroborate Runnall's and Glutz's conclusions. And yes, one play was
performed each year. See Graham's article on this: "Medieval Trade
Guilds and the `Miracles de Nostre Dame per personnages'," _Medium
Aevum_ 39 (1970): 257-287.
Cheers,
Bob Clark (who is happy to be through with the Miracles for a while!)
=========================================================================
Date: Mon, 27 Feb 1995 09:07:49 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Graham A. Runnalls"
Organization: Arts
Subject: Re: Order of Miracles de N-D par personnages
Yes, the order of the plays is (in my opinion) chronological. See my
articles on dating of the plays in Medium Aevum XXXIX (1970) 257-288,
and Philological Quarterly XLIX (1970) 19-29. The latter is just
about the dating of the plays; the former much more wide-ranging,
about Guilds and Miracle plays in general. (I can send you an off-
print of the PQ article, if you like, Jesse.) In the original ms,
the Incipit of each play ended (something like) "...joue au puy des
orfevres a paris l'an (number in roman numerals)".
These were subsequently erased, by scratching, but I managed to
read enough of them to show that the plays were in chronological
order from 1339 to 1382. But there were a few years without plays,
explained by political troubles in Paris. The reason for the
erasures was, in my opinion, also political.
This was part of my thesis, started in 1959. It takes me back. Robert
Clarke knows more about these plays now than me, since I haven't
worked on them for years. Perhaps Robert has proved me wrong!
Graham Runnalls
=========================================================================
Date: Mon, 27 Feb 1995 08:35:42 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Norman J. Myers"
Subject: Re: Petition against censorship of internet
Who could not agree that the pending Senate bill to, in effect, censor all
aspects of e-mail is a terrible thing?
Of course, by signing a petition via e-mail, you risk having your e-mail
address on file as an Un-American left wing trouble-maker when (not IF,
WHEN, the philistines are in control) the bill passes. (Communisim being
pretty dead, at least you won't be a "pinko" Un-American left wing
trouble-maker.)
Joe McCarthy isn't turning over in his grave. He's dancing for joy.
=========================================================================
Date: Mon, 27 Feb 1995 09:42:18 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Sigismundo Celine
list perform
=========================================================================
Date: Mon, 27 Feb 1995 12:46:08 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jeff Taylor
Subject: hello everyone
All, Forgive my little blunder of earlier today. I'm still getting used to
doing this from a Mac and Eudora rather than a mainframe and CMS. I promise
it won't happen again. ;^)
Let me just announce that I'm back on the Net after about a six month
absence. Some of you may remember me as GR4302@siucvmb.siu.edu.
Glad to be back, and not surprised to see that things have changed a lot in
the last half-year (almost an eternity on the Net, eh?)
Jeff Taylor
now of Middle Georgia College
;^##
=========================================================================
Date: Tue, 28 Feb 1995 11:39:57 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Catherine Campion
Subject: Re: your mail
In-Reply-To: <2f51f8653212012@maroon.tc.umn.edu>
i am trying to unsubscribe...please, unsubscribe me! Nothing i do seems
to work.
=========================================================================
Date: Tue, 28 Feb 1995 15:43:39 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: David Klausner
Subject: apsa-l> petition (fwd)
Forwarded message:
> Forwarded message:
> > From owner-apsa-l@beacon.bryant.edu Mon Feb 27 18:21:10 1995
> > Date: Mon, 27 Feb 1995 17:23:17 -0500
> > Message-Id: <9502272223.AA16061@beacon.bryant.edu>
> > Mime-Version: 1.0
> > Content-Type: text/plain; charset="us-ascii"
> > To: apsa-l@beacon.bryant.edu, brasa@unmvma.unm.edu
> > From: arenasf@alm.admin.usfca.edu (fernando arenas)
> > Subject: apsa-l> petition
> > Sender: owner-apsa-l@beacon.bryant.edu
> > Precedence: bulk
> > Reply-To: apsa-l@beacon.bryant.edu
>
> >
> > Simply put, a couple of senators have proposed a particularly
> > heinous piece of legislation titled the "Communications Decency Act of
> > 1995" (Senate Bill S. 314). Basically, the bill would subject all forms
> > of electronic communication -- from public Internet postings to your most
> > private email -- to government censorship. The effects of the bill onto
> > the online industry would be devastating -- most colleges and private
> > companies (AOL, Compuserve, etc.) would probably have to shut down or
> > greatly restrict access, since they would be held criminally liable for
> > the postings and email of private users.
> >
> >
> > A petition, to be sent to Congress, the President, and the media,
> > has begun spreading through the Internet. It's easy to participate and be
> > heard -- to sign it, you simply follow the instructions below -- which
> > boil down to sending a quick email message to a certain address. That's
> > all it takes to let your voice be heard. (You know, if the Internet makes
> > democracy this accessible to the average citizen, is it any wonder
> > Congress wants to censor it?)
> >
> >
> > Finally, PLEASE forward this message to all your friends online.
> > The more people sign the petition, the more the government will get the
> > message to back off the online community. We've been doing fine without
> > censorship until now -- let's show them we don't plan on allowing them to
> > start now. If you value your freedoms -- from your right to publicly post
> > a message on a worldwide forum to your right to receive private email
> > without the government censoring it -- you need to take action NOW. It'll
> > take fifteen minutes at the most, a small sacrifice considering the issues
> > at hand. Remember, the age of fighting for liberty with muskets and
> > shells is most likely over; the time has come where the keyboard and the
> > phone line will prove mightier than the sword -- or the Senate, in this
> > case.
> >
> >
> >
> > > Here's what you have to do to sign the petition:
> > >
> > > send an e-mail message to: S314-petition@netcom.com
> > > the message (NOT the subject heading) should read as follows:
> > > SIGNED
> > > eg. SIGNED lsewell@leland.Stanford.EDU Laura Sewell YES
> > >
> > > If you are interested in signing the petition, I would highly suggest
> > > investigating the details of the situation. You can find out more on
> > > the Web at http://www.wookie.net/~slowdog or in the newsgroup
> > > comp.org.eff.talk
> > >
> >
> >
> >
> >
> >
> >
> >
> > Fernando Arenas
> > arenasf@usfca.edu
> >
> >
>
>
--
Prof. David Klausner/Centre for Medieval Studies/University of Toronto
klausner@epas.utoronto.ca phone: 416-978-6752 fax: 416-971-1398
=========================================================================
Date: Tue, 28 Feb 1995 15:48:18 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: David Klausner
Subject: apsa-l> petition (fwd)
> Forwarded message:
> > From owner-apsa-l@beacon.bryant.edu Mon Feb 27 18:21:10 1995
> > Date: Mon, 27 Feb 1995 17:23:17 -0500
> > Message-Id: <9502272223.AA16061@beacon.bryant.edu>
> > Mime-Version: 1.0
> > Content-Type: text/plain; charset="us-ascii"
> > To: apsa-l@beacon.bryant.edu, brasa@unmvma.unm.edu
> > From: arenasf@alm.admin.usfca.edu (fernando arenas)
> > Subject: apsa-l> petition
> > Sender: owner-apsa-l@beacon.bryant.edu
> > Precedence: bulk
> > Reply-To: apsa-l@beacon.bryant.edu
>
I hope many subscribers will be willing to join this petition. David Klausner
> > I'm passing on this bit of rhetoric, but it seems like a good bill to
> > oppose and it's very easy .. .
> >
> > Simply put, a couple of senators have proposed a particularly
> > heinous piece of legislation titled the "Communications Decency Act of
> > 1995" (Senate Bill S. 314). Basically, the bill would subject all forms
> > of electronic communication -- from public Internet postings to your most
> > private email -- to government censorship. The effects of the bill onto
> > the online industry would be devastating -- most colleges and private
> > companies (AOL, Compuserve, etc.) would probably have to shut down or
> > greatly restrict access, since they would be held criminally liable for
> > the postings and email of private users.
> >
> >
> > A petition, to be sent to Congress, the President, and the media,
> > has begun spreading through the Internet. It's easy to participate and be
> > heard -- to sign it, you simply follow the instructions below -- which
> > boil down to sending a quick email message to a certain address. That's
> > all it takes to let your voice be heard. (You know, if the Internet makes
> > democracy this accessible to the average citizen, is it any wonder
> > Congress wants to censor it?)
> >
> >
> > Finally, PLEASE forward this message to all your friends online.
> > The more people sign the petition, the more the government will get the
> > message to back off the online community. We've been doing fine without
> > censorship until now -- let's show them we don't plan on allowing them to
> > start now. If you value your freedoms -- from your right to publicly post
> > a message on a worldwide forum to your right to receive private email
> > without the government censoring it -- you need to take action NOW. It'll
> > take fifteen minutes at the most, a small sacrifice considering the issues
> > at hand. Remember, the age of fighting for liberty with muskets and
> > shells is most likely over; the time has come where the keyboard and the
> > phone line will prove mightier than the sword -- or the Senate, in this
> > case.
> >
> >
> >
> > > Here's what you have to do to sign the petition:
> > >
> > > send an e-mail message to: S314-petition@netcom.com
> > > the message (NOT the subject heading) should read as follows:
> > > SIGNED
> > > eg. SIGNED lsewell@leland.Stanford.EDU Laura Sewell YES
> > >
> > > If you are interested in signing the petition, I would highly suggest
> > > investigating the details of the situation. You can find out more on
> > > the Web at http://www.wookie.net/~slowdog or in the newsgroup
> > > comp.org.eff.talk
> > >
> >
> >
> >
> >
> >
> >
> >
> > Fernando Arenas
> > arenasf@usfca.edu
> >
> >
>
>
--
Prof. David Klausner/Centre for Medieval Studies/University of Toronto
klausner@epas.utoronto.ca phone: 416-978-6752 fax: 416-971-1398