PERFORM Log
April 1995
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Date: Sun, 2 Apr 1995 13:44:03 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Julie L Crosby
Subject: CALL FOR PAPERS -- X-Posted
The following message has been widely cross-posted.
GRADUATE STUDENTS:
Announcing the sixth annual Columbia Medieval Guild Conference:
PERFORMANCE, RITUAL & SPECTACLE IN THE MIDDLE AGES
Saturday, October 14, 1995
Philosophy Hall, Columbia University, New York City
Keynote Address: DR. MIRI RUBIN, Pembroke College, Oxford
Roundtable Moderator: PROF. ROBERT HANNING, Columbia University
Performance: The Digby KILLING OF THE CHILDREN
*****CALL FOR PAPERS*****
This conference will investigate definitions and theories of performance,
ritual and spectacle as they have been developed, borrowed and adapted by
scholars in all disciplines of medieval studies. It will address if and
how these categories are relevant, both singularly and plurally, to the
study of medieval texts, art, religious and secular artifacts, and
historical documents.
Possible topics include: drama, Latin and vernacular lyric traditions,
political arenas, narrative and issues of orality, magic and miracles,
liturgy and liturgical procession, gladiators and gore, rituals of daily
life, torture and punishment, minstrels and troubadours, preaching,
religious ceremonies and cermonies of race, class and gender.
Please submit a 250-word abstract and a brief biography by June 2, 1995 to:
Medieval Guild
Dept. of English and Comparative Literature
602 Philosophy Hall
Columbia University
New York, NY 10027
For further information, please contact
Karen Bezella Julie Crosby
kjb5@columbia.edu jlc47@columbia.edu
(212)663-6077 (212)355-3382
=========================================================================
Date: Tue, 4 Apr 1995 17:00:11 EWT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Eric Metzler
Subject: Pregnant Abbess query
Will the person who gave the citation for Vincent de Beauvais'
version of the Pregnant Abbess please repeat it? I was a little
trigger happy with the delete key and missed the place in the
_Speculum Historiale_ where the story is to be found.
Thanks,
Eric Metzler
Indiana University
=========================================================================
Date: Tue, 4 Apr 1995 16:03:03 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Cameron Deaver
Subject: Help a poor student with a paper?
I've been working on a paper on the use of dramatic space in Bodel's
_Jeu de Saint Nicolas_, and I realized the other day that I haven't taken
advantage of the expertise of PERFORM's subscribers. I'd VERY MUCH
appreciate any information or suggestions you could pass my way.
The general questions I'm looking at include the following:
What is the nature of the actual physical playing space most often used
and of the space represented in the action of the play? What changes in
the physical playing space occurred over the centuries? What changes
occur in the space *represented* in medieval French plays?
What is the relationship between the two? How did changes in the
performance space affect the structure, content and meaning of the
play? And/or did the content and structure of the plays influence the
way in which the plays were presented?
What is the relationship between the physical playing space and the
various genres of medieval drama? What are the common movements
(changes in place, space) depicted in the French medieval plays? in the
various genres? over time?
What relationships exist among the central loci (garden, church/abbey,
tavern, town) of various plays? What is the significance of travel in the
plays? What about movement through time? passage of time?
What relationships exist between changes in use of dramatic space and
changes in the language of the plays?
How does space, movement, and time change in other arts during the
middle ages? (painting, sculpture, music, poetry, prose) What are the
relationships between theater and other arts as far as the representation
of space is concerned? What other relationships exist between the
notion of space in the theater and the ideas found in other "non-artistic"
fields and disciplines? (politics, economics, exploration, history,
philosophy, etc.)
As I mentioned above, I primarily concerned with _Saint Nicolas_, but I'm
also exploring the possibility of working Adam de la Halle's _Le jeu de la
feuill#e_ into the discussion. Furthermore, I'd like to understand better
the nature of comedy and its use of dramatic space, especially as these
topics relate to _Nicolas_ and _Feuill#e_. In addition, I'm trying to see
more clearly the nature of the "adaptation" (?) both authors make: miracle
play > Nicolas and Adam play > Feuill#e.
Please don't be shy about offering suggestions and opinions. I'm
exploring everything I can and open to anything I find. I'm also hard to
offend, so don't worry about "insulting my intelligence". Send me
anything you can think of.
merci merci merci merci merci
Cameron Deaver
CAM@WORDPERFECT.COM
=========================================================================
Date: Tue, 4 Apr 1995 23:14:20 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: Re: Pregnant Abbesses
Eric,
Here's Alan's reply with reference to Vincent de Beauvais:
> From: "Alan E. Knight"
> Subject: Re: Pregnant Abbesses
>
> Jesse,
> I know of no other dramatic versions of the pregnant abbess story,
> but there are many other narrative versions in both Latin and
> French. As you know, the Lille playwright's source was Vincent of
> Beauvais's _Speculum Historiale_ (Bk. 7, Ch. 86). A French prose
> translation of Vincent was made in the mid 15th c. by Jean Mielot,
> who lived in Lille. As far as I know, this is available only in
> the facsimile edition of Bodley MS. Douce 374 that was made for
> the Roxburghe Club in 1885.
>
> My colleague, Robert W. Frank, Jr., who is editor of _The Chaucer
> Review_ and who has worked a lot on miracles, provides the
> following information:
>
> The place to start is A. Poncelet's index of miracles in _Analecta
> Bollandia_, 21 (1902), 241-360. The pregnant abbess is miracle
> number 4, where 20 additional examples are listed. A bibliography
> of French versions is provided in Adgar, _Le Gracial_, ed. Pierre
> Kunstmann (Ottowa: Editions de l'Universite d'Ottowa, 1982). There
> the pregnant abbess is number 49. This presumably includes Gautier
> de Coinci's version, which is found in vol. 2 of Koenig's edition.
>
> Your student should find sufficient versions to make a meaningful
> comparison.
>
> Best wishes,
> Alan
>
=========================================================================
Date: Wed, 5 Apr 1995 09:16:34 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "D. Peters"
Subject: Re: Pregnant Abbesses
I don't have the exact citation, but one of the Cantigas de Santa Maria
is a narrative version of the Pregnant Abbess story.
D. Peters
=========================================================================
Date: Wed, 5 Apr 1995 10:38:00 EDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Alan E. Knight"
Subject: Re: Pregnant Abbesses
In-Reply-To: LAKECO5 AT INDYVAX.IUPUI.EDU -- Wed, 5 Apr 1995 09:16:34 -0500
Thanks, Jesse, for reposting my note concerning the pregnant abbess
references. I would like, however, to correct a typo that I made
in it. The title of the Bollandist periodical should read: _Analecta
Bollandiana_.
Alan Knight
aek@psuvm.psu.edu
=========================================================================
Date: Wed, 5 Apr 1995 12:23:54 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Joel Cohen
Subject: Richard the Lion-Hearted
Can some one help me track down a literary source?
There is a famous story about King Richard the Lion Hearted and his minstrel,
Blondel de Nesle. According to the tale, Richard was lokced up in a (German?)
prison, and Blondel, passing by, heard his master's voice singing a plaintive
song.
This is the way schoolkids learn it. (The song itself survives in both French
and Provencal versions.) Anybody know the medieval source for the story?
Thanks.
Trobador
=========================================================================
Date: Wed, 5 Apr 1995 14:16:23 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: BOURASSA ANDRE G
Subject: Re: Help a poor student with a paper?
Bonjour!
Pourquoi ne pas vous inscrire a QUEATRE, une liste de discussion sur le
theatre en francais, et y poser votre question?
Faire listproc@uqam.ca
avec le sujet subscribe
et le message
subscribe queatre Prenom Nom
Amities,
Andre G. Bourassa
On Tue, 4 Apr 1995, Cameron Deaver wrote:
> I've been working on a paper on the use of dramatic space in Bodel's
> _Jeu de Saint Nicolas_, and I realized the other day that I haven't taken
> advantage of the expertise of PERFORM's subscribers. I'd VERY MUCH
> appreciate any information or suggestions you could pass my way.
>
> The general questions I'm looking at include the following:
>
> What is the nature of the actual physical playing space most often used
> and of the space represented in the action of the play? What changes in
> the physical playing space occurred over the centuries? What changes
> occur in the space *represented* in medieval French plays?
>
> What is the relationship between the two? How did changes in the
> performance space affect the structure, content and meaning of the
> play? And/or did the content and structure of the plays influence the
> way in which the plays were presented?
>
> What is the relationship between the physical playing space and the
> various genres of medieval drama? What are the common movements
> (changes in place, space) depicted in the French medieval plays? in the
> various genres? over time?
>
> What relationships exist among the central loci (garden, church/abbey,
> tavern, town) of various plays? What is the significance of travel in the
> plays? What about movement through time? passage of time?
>
> What relationships exist between changes in use of dramatic space and
> changes in the language of the plays?
>
> How does space, movement, and time change in other arts during the
> middle ages? (painting, sculpture, music, poetry, prose) What are the
> relationships between theater and other arts as far as the representation
> of space is concerned? What other relationships exist between the
> notion of space in the theater and the ideas found in other "non-artistic"
> fields and disciplines? (politics, economics, exploration, history,
> philosophy, etc.)
>
> As I mentioned above, I primarily concerned with _Saint Nicolas_, but I'm
> also exploring the possibility of working Adam de la Halle's _Le jeu de la
> feuill#e_ into the discussion. Furthermore, I'd like to understand better
> the nature of comedy and its use of dramatic space, especially as these
> topics relate to _Nicolas_ and _Feuill#e_. In addition, I'm trying to see
> more clearly the nature of the "adaptation" (?) both authors make: miracle
> play > Nicolas and Adam play > Feuill#e.
>
> Please don't be shy about offering suggestions and opinions. I'm
> exploring everything I can and open to anything I find. I'm also hard to
> offend, so don't worry about "insulting my intelligence". Send me
> anything you can think of.
>
> merci merci merci merci merci
>
> Cameron Deaver
> CAM@WORDPERFECT.COM
>
=========================================================================
Date: Wed, 5 Apr 1995 14:19:22 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: BOURASSA ANDRE G
Subject: Re: Help a poor student with a paper?
Re-bonjour!
J'ai oublie de vous dire qu'il existe depuis trois jours, au meme
listproc@uqam.ca
une liste MEDIEVALE
qui compte deja une centaine de noms. Meme procedure que pour QUEATRE.
Andre G. Bourassa,
bourassa.andre_g@uqam.ca
=========================================================================
Date: Wed, 5 Apr 1995 14:25:19 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Michelle Wright
Subject: Richard the lion-hearted
I don't have these books at hand, but I imagine you might find
some information on legends of Richard's imprisonment in:
Needler, G. H. Richard Coeur de Lion in Literature (Lepizig, 1890)
Broughton, B. The Legends of King RIchard I (The Hague, 1966)
Norgate, Kate. Richard the Lionheart (London, 1924).
I believe Norgate has a translation of the song.
Michelle Wright
University of Miami
mwright@umiami.ir.miami.edu
=========================================================================
Date: Wed, 5 Apr 1995 16:00:30 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Planned Scandinavian issue of CompD
In-Reply-To: Your message dated "Wed,
05 Apr 1995 09:16:34 -0500" <199504051757.NAA24035@gw.wmich.edu>
COMPARATIVE DRAMA is planning a special issue on Scandinavian Drama and the
Middle Ages and would like to invite submissions of articles on (mainly)
modern Scandinavian drama and the medieval period. Film will also be
included. Currently it is hoped that this issue can be scheduled for Spring
1996. Proposals and completed papers should be directly to:
The Editors
COMPARATIVE DRAMA
Department of English
Western Michigan University
Kalamazoo, MI 49008
Please also pass the word on to your colleagues.
Clifford Davidson, Co-Editor
=========================================================================
Date: Wed, 5 Apr 1995 18:31:23 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Julie L Crosby
Subject: CALL FOR PAPERS - X-Posted
The following message has been widely cross-posted. Apologies for
duplication.
GRADUATE STUDENTS:
Announcing the sixth annual Columbia Medieval Guild Conference:
PERFORMANCE, RITUAL & SPECTACLE IN THE MIDDLE AGES
Saturday, October 14, 1995
Philosophy Hall, Columbia University, New York City
Keynote Address: DR. MIRI RUBIN, Pembroke College, Oxford
Roundtable Moderator: PROF. ROBERT HANNING, Columbia University
Performance: The Digby KILLING OF THE CHILDREN
*****CALL FOR PAPERS*****
This conference will investigate definitions and theories of performance,
ritual and spectacle as they have been developed, borrowed and adapted by
scholars in all disciplines of medieval studies. It will address if and
how these categories are relevant, both singularly and plurally, to the
study of medieval texts, art, religious and secular artifacts, and
historical documents.
Possible topics include: drama, Latin and vernacular lyric traditions,
political arenas, narrative and issues of orality, magic and miracles,
liturgy and liturgical procession, gladiators and gore, rituals of daily
life, torture and punishment, minstrels and troubadours, preaching,
religious ceremonies and cermonies of race, class and gender.
Please submit a 250-word abstract and a brief biography by June 2, 1995 to:
Medieval Guild
Dept. of English and Comparative Literature
602 Philosophy Hall
Columbia University
New York, NY 10027
For further information, please contact
Karen Bezella Julie Crosby
kjb5@columbia.edu jlc47@columbia.edu
(212)663-6077 (212)355-3382
=========================================================================
Date: Thu, 6 Apr 1995 12:25:27 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Deborah Hovland
Organization: from SUNY College at Buffalo, NY 14222
Subject: Re: Richard the Lion-Hearted
There is a similar situation in Chretien de troye's Chevalier de la
charrette: Lancelot, emprisoned in a tower from which there is no
escape, is rescued by the King's daughter when she overhears his wh
moaning. This may predate your story and therefore be a source from
which the Lionheart story was extrapolated.
Deborah HOvland
HOVLANDL@snybufaa.cs.snybuf.edu
SUNY College at Buffalo
=========================================================================
Date: Thu, 6 Apr 1995 15:09:23 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: BOURASSA ANDRE G
Subject: 1995 IFTR Conference : Announcement (fwd)
=09=09=09************************
=09=09=09ANNUAL CONFERENCE OF THE
=09 INTERNATIONAL FEDERATION FOR THEATRE RESEARCH
=09=09=09 FIRT / IFTR
=09 <<<<<<< ACTOR, ACTRESS ON STAGE >>>>>>>
=09=09=09BODY / ACTING / VOICE
=09=09 Montreal - Valleyfield
=09=09=09 May 22 - 27 1995
=09The IFTR Conference of 1995 is jointly organized by the
=09Departement de Theatre of Universite du Quebec a Montreal and the
=09Programme ofArts and Letters of College de Valleyfield.=20
=09=09=09 ********
PROGRAM
~~~~~~~
* MONDAY MAY 22
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
9 AM TO 10:30 AM
Keynote Speaker : EUGENIO BARBA
11 AM TO 12:30 PM
Demonstration : Larry Tremblay (Canada)
=09Title : Corps en jeu
Speaker : Alain Knapp
Speaker : Nichola Savarese
2 PM TO 3:30 PM
Demonstration : Werewere Liking (Ivory Coast)
=09Title : TBD
Session : Specific Practices of Acting
Session : Acting Body
Session : Voice on Stage
4 PM TO 5:30 PM
Demonstration : Jacques Lessard (Canada)
=09Title : Les cycles Repere.
Session : Specific Practices of Acting
Session : Acting Body
Session : Voice on Stage
* TUESDAY MAY 23
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
9 AM TO 10:30AM
Speaker : Jacques Lassalle
Speaker : Anne Ubersfeld
11 AM TO 12:30 PM
Demonstration : Jane Baldwin (USA)
=09Title : Au-dela du naturalisme. La biomecanique theatrale de V.E.=20
Meyerhold
Speaker : Marco de Marinis
Speaker : Franco Ruffini
2 PM TO 3:30 PM
Demonstration : Joseph Rouleau (Canada)
=09Title : La voix : l'artiste lyrique est-il au service du theatre=20
ou l'inverse ?
Session : Actor-Director relationships
Session : Identity, Part, Character
Session : Theory of Acting
4 PM TO 5:30 PM
Demonstration : Pol Pelletier (Canada)
=09Title : Les lois de la presence
Session : Actor-Director relationships
Session : Identity, Part, Character
Session : Theory of Acting
6 PM TO 7:30 PM
Professional Theatre Schools
Theatre Research in Quebec
* WEDNESDAY MAY 24
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
9 AM TO 10:30AM
Speakers : Panel
=09Mariann Ackerman - Andre Brassard - Gilles Maheu -=20
=09Denis Marleau - Lorraine Pintal - Yves Sioui
11 AM TO 12:30 PM
Demonstration : Kailash Pandya (India)
=09Title : The Natyshastra Sanskrit Acting Style
Speaker : Jean-Claude Germain
Speaker : Richard Rose=09
2 PM TO 3:30 PM
Demonstration : Jean Asselin (Canada)
=09Title : TBD.
Session : Preparation and Training of the Actor
Session : Asia and Occident
Session : From Text to Acting
4 PM TO 5:30 PM
Demonstration : Johannes Birringer (USA)
=09Title : Obscene/Off-Screen Body
Session : Preparation and Training of the Actor
Session : Asia and Occident
Session : From Text to Acting
* THURSDAY MAY 25
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
9:30 AM TO 11:30AM
Francophones Meeting
Discussion Groups=09
1 PM TO 9 PM
Trips : Biodome - Pointe du Buisson - Sugarbush
* FRIDAY MAY 26
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
10 AM TO 12 PM
Demonstration : Nesta Jones (United Kingdom)
=09Title : The English Acting Tradition
Working Group : Performance Analysis
=09Prof. Eli Rozik
Working Group : Historiography of the Theatre
=09Prof. Frank Peeters
Working Group : Feminist Theatre / Women in the Theatre
=09Profs. Olga Taxidou et Tiina Rosenberg
Working Group : Cultural Identities
=09Prof. Helen Peters
Working Group : Theoritical Models of Analysis
=09Prof. Hans Van Maanen
Working Group : Specific Practices : Body/Acting/Voice
=09Prof. Henri Schoenmakers
1:30 PM TO 3 PM
Demonstration : William Lau (China)
=09Title : Les personnages et la technique theatrale de l'Opera de Pekin
Working Group : Performance Analysis
=09Prof. Eli Rozik
Working Group : Historiography of the Theatre
=09Prof. Frank Peeters
Working Group : Feminist Theatre / Women in the Theatre
=09Profs. Olga Taxidou et Tiina Rosenberg
Working Group : Cultural Identities
=09Prof. Helen Peters
Working Group : Theoritical Models of Analysis
=09Prof. Hans Van Maanen
Working Group : Specific Practices : Body/Acting/Voice
=09Prof. Henri Schoenmakers
3:15 PM
Memory of Memory (play)
=09=09=09
4:30 PM
Reception by the Major and the Director General
=09=09=09
8 PM
Theatre
* SATURDAY MAY 27
=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF=AF
10 AM TO 12 PM
Demonstration : Kinneret Roy (USA)
=09Title : Les techniques traditionnelles du jeu theatral japonais
Working Group : Performance Analysis
=09Prof. Eli Rozik
Working Group : Historiography of the Theatre
=09Prof. Frank Peeters
Working Group : Feminist Theatre / Women in the Theatre
=09Profs. Olga Taxidou et Tiina Rosenberg
Working Group : Cultural Identities
=09Prof. Helen Peters
Working Group : Theoritical Models of Analysis
=09Prof. Hans Van Maanen
Working Group : Specific Practices : Body/Acting/Voice
=09Prof. Henri Schoenmakers
1:30 PM TO 3:30 PM
Demonstration Carlo Pasi (Italy)
=09Title : L'ombre parlee. Fantasmes feminins sur scene
Working Group : Performance Analysis
=09Prof. Eli Rozik
Working Group : Historiography of the Theatre
=09Prof. Frank Peeters
Working Group : Feminist Theatre / Women in the Theatre
=09Profs. Olga Taxidou et Tiina Rosenberg
Working Group : Cultural Identities
=09Prof. Helen Peters
Working Group : Theoritical Models of Analysis
=09Prof. Hans Van Maanen
Working Group : Specific Practices : Body/Acting/Voice
=09Prof. Henri Schoenmakers
4 PM TO 6 PM
Speaker : PETER SELLARS
=09=09=09***********************
Complete information about the IRFT Conference can be retrieved=20
at the following URL :
URL : gopher://gopher.Litteratures.Umontreal.ca:7070/1/annonces/firt
=09=09=09***********************
* Contacts:
=AF=AF=AF=AF=AF=AF=AF=AF=AF
Josette Feral (Uqam) Jean-Marc Larrue (Valleyfield college)
r36254@er.uqam.ca jmlarrue@grics.edupac.qc.ca
=09FIRT / IFTR 1995
=09Departement de Theatre
=09Universite du Quebec a Montreal
=09C.P. 8888, Succ. Centre-Ville
=09Montreal (Quebec)
=09Canada H3C 3P8
=09Tel: (514) 987-3255 / (514) 373-9441
=09Fax: (514) 987-7881 / (514) 377-6048
=09=09-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=
=3D-
=========================================================================
Date: Thu, 6 Apr 1995 19:03:27 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: Re: Planned Scandinavian issue of CompD
Cliff: What is the deadline for submitting a prospectus or finished
article for the scandinavian drama issue of CD? Thanks,
Steve Wright
Catholic University
=========================================================================
Date: Fri, 7 Apr 1995 11:36:27 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Planned Scandinavian issue of CompD
In-Reply-To: Your message dated "Thu,
06 Apr 1995 19:03:27 -0500" <199504070648.CAA04307@gw.wmich.edu>
In response to Steve Wright's query about the deadline for the Scandinavian
issue of _Comparative Drama_: We need to have everything in hand in the fall
(let's say October 1), if possible, so proposals need to be sent to me as
soon as possible, and also finished essays should reach us for consideration
in the summer. I see us as behind schedule in deciding to do this issue, but
we are very keen on the idea and are sure that the final result will be
entirely up to our highest expectations.
I also want to emphasize that film will be included.
Clifford Davidson
=========================================================================
Date: Fri, 7 Apr 1995 12:58:35 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Joel Cohen
Subject: Richard the Lion-Hearted
Thanks to those who responded to the query about Richard and his minstrel.
Mr. or Ms. Rosenberg seems to have supplied the answer, which I am herewith
sharing.
Trobador
--------------------------
Subject: RE: Richard Coeur de Lion
Date: 95-04-07 10:28:10 EDT
From: SROSENBE@ucs.indiana.edu
Sender: medievale@uqam.ca
Reply-to: medievale@uqam.ca
To: trobador@aol.com
La legende de Richard Coeur de Lion libere grace au devouement de Blondel de
Nesle remonte aux RECITS D'UN MENESTREL DE REIMS (+/-1260) edites en 1876
par N. de Wailly.
S.N.Rosenberg
=========================================================================
Date: Wed, 12 Apr 1995 14:53:06 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Cameron Deaver
Subject: Re: Help a poor student with a paper? -Reply
MERCI pour les informations ! Je m'inscrirai sans doute aux autres listes.
Avez-vous des autres suggestions sur ce sujet ? Je sais que les
questions que j'ai pos#es dans mon message sont tr#s g#n#rales, et #
ce moment je ne suis pas certain comment je veux les pr#ciser pour ce
rapport.
Je suppose que "uqam" soit l'Universit# du Qu#bec # Montr#al. C'est vrai
? Est-ce que vous #tes professeur ? dans quelle facult# ?
Je vous remercie encore pour votre aide.
Cameron Deaver
CAM@WORDPERFECT.COM
P.S. J'#sp#re que mon fran#ais soit d#chiffrable. Je l'ai #tudi# tr#s
peu--mes langues principales sont l'anglais (je suis americain) et l'italien.
Excusez mes erreurs.
>>> BOURASSA ANDRE G 4/5/95
12:19 pm >>>
Re-bonjour!
J'ai oublie de vous dire qu'il existe depuis trois jours, au meme
listproc@uqam.ca une liste MEDIEVALE qui compte deja une centaine de
noms. Meme procedure que pour QUEATRE.
Andre G. Bourassa, bourassa.andre_g@uqam.ca
=========================================================================
Date: Thu, 13 Apr 1995 10:10:07 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Cameron Deaver
Subject: Sorry, sorry, sorry, sorry, sorry
Yesterday I posted a response intended for an individual to the entire list.
I apologize. I was in quite a hurry and didn't realize that the return
address included PERFORM.
Once again, sorry.
=========================================================================
Date: Fri, 14 Apr 1995 00:08:56 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Joel Cohen
Subject: Le printemps du troubadour
Here on the North Shore of Boston, we've just had the first day that really
FEELS like spring.....aaaah...
Thus, an offering to the season by the great troubadour, Bernard de Ventdorn.
No extant tune to this one, but try reading it aloud...what fantastic
virtuosity in the word-music.
Mes excuses aux amis francophones, je n'ai pas de traduction francaise sous
la main...mais le provencal est une langue soeur.
Trobador
-----------------------------------------------
Bel m'es can eu vei la brolha
____________________________
Bel m'es can eu vei la brolha
reverdir per mei lo brolh
e.lh ram son cubert de folha
e.l rossinhols sotz de folh
chanta d'amor, don me dolh;
e platz me qued eu m'en dolha,
ab sol qued amar me volha
cela qu'eu desir e volh.
Eu la volh can plus s'orgolha
vas me, mas oncas orgolh
n'ac va lei. Per so m'acolha
ma domna, pois tan l'acolh
c'a tota autras me tolh
per lei, cui Deus no me tolha.
Ans li do cor qu'en grat colha
so que totz jorns s'amor colh.
S'amor colh, qui m'empreizona,
per lei que mala preizo
me fai, c'ades m'ochaizona
d'aisso don ai ochaizo.
Tort n'a, mas eu lo.lh perdo,
e mos cors li reperdona,
car tan la sai bel'e bona
que tuih li mal m'en son bo.
Bo son tuih li mal que.m dona;
mas per Deu li quer un do:
que ma bocha, que jeona,
d'un douz baizar dejeo.
Mas trop quer gran guizerdo
celei que tan guizardona;
e can eu l'en arazona,
ilh me chamja ma razo.
Ma razo chamja e vira;
mas eu ges de lei no.m vir
mo fi cor, que la dezira
aitan que tuih mei dezir
son de lei per cui sospir.
E car ela no sospira,
sai qu'en lei ma mortz se mira,
can sa gran beutat remir.
Ma mort remir, que jauzir
no.n posc ni no.n sui jauzire;
mas eu sui tan bos sofrire
c'atendre cuit per sofrir.
It pleases me to see the trees turning green in the middle of the forest,
when the branches are covered with leaves and the nightingale under the
leaves sings of love, that from which I suffer. And it pleases me to suffer
from love, if only she whom I desire wants to love me.
I want her, though she is haughty towards me, but I have never been haughty
towards her. May thus my lady welcome me, since I welcome her so well that I
abandon all the others for her, provided that God does not abandon me. May it
inspire in her rather the desire to acknowledge the fact that I acknowledge
each day her love in me.
I acknowledge her love that imprisons me, for her who casts me into a bad
prison. Now she reproaches me things for which I bear her reproach.Wrong she
is, but I pardon her, and my heart pardons her, for I know the season to be
fair and good, and that all wrongs to me are good.
Good are all the wrongs she does me, but I ask God one gift: that my mouth,
which is fasting, receive from her a sweet kiss as break-fast. I demand too
great a reward of she who rewards so generously; and when I reason to her,
she changes my reasons.
My reason changes and shifts, but I hardly change at all my faithful heart,
which desires her so much that all my desires are for her for whom I sigh.
And since she does not sigh [for me], I know that in her my death is
contemplated, when I contemplate her great beauty.
I contemplate my death, since I cannot pleasure in her and am not pleasured.
But I am such a good patient that I can await in patience.
=========================================================================
Date: Sat, 15 Apr 1995 01:37:35 +0200
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Helene Bostrom
Subject: Re: Help a poor student with a paper?
In-Reply-To: <199504042243.AAA00504@kth.se>
On Tue, 4 Apr 1995, Cameron Deaver wrote:
> I've been working on a paper on the use of dramatic space in Bodel's
> _Jeu de Saint Nicolas_, and I realized the other day that I haven't taken
> advantage of the expertise of PERFORM's subscribers. I'd VERY MUCH
> appreciate any information or suggestions you could pass my way.
>
> The general questions I'm looking at include the following:
>
> What is the nature of the actual physical playing space most often used
> and of the space represented in the action of the play? What changes in
> the physical playing space occurred over the centuries? What changes
> occur in the space *represented* in medieval French plays?
>
> What is the relationship between the two? How did changes in the
> performance space affect the structure, content and meaning of the
> play? And/or did the content and structure of the plays influence the
> way in which the plays were presented?
>
> What is the relationship between the physical playing space and the
> various genres of medieval drama? What are the common movements
> (changes in place, space) depicted in the French medieval plays? in the
> various genres? over time?
>
> What relationships exist among the central loci (garden, church/abbey,
> tavern, town) of various plays? What is the significance of travel in the
> plays? What about movement through time? passage of time?
>
> What relationships exist between changes in use of dramatic space and
> changes in the language of the plays?
>
> How does space, movement, and time change in other arts during the
> middle ages? (painting, sculpture, music, poetry, prose) What are the
> relationships between theater and other arts as far as the representation
> of space is concerned? What other relationships exist between the
> notion of space in the theater and the ideas found in other "non-artistic"
> fields and disciplines? (politics, economics, exploration, history,
> philosophy, etc.)
>
> As I mentioned above, I primarily concerned with _Saint Nicolas_, but I'm
> also exploring the possibility of working Adam de la Halle's _Le jeu de la
> feuill#e_ into the discussion. Furthermore, I'd like to understand better
> the nature of comedy and its use of dramatic space, especially as these
> topics relate to _Nicolas_ and _Feuill#e_. In addition, I'm trying to see
> more clearly the nature of the "adaptation" (?) both authors make: miracle
> play > Nicolas and Adam play > Feuill#e.
>
> Please don't be shy about offering suggestions and opinions. I'm
> exploring everything I can and open to anything I find. I'm also hard to
> offend, so don't worry about "insulting my intelligence". Send me
> anything you can think of.
>
> merci merci merci merci merci
>
> Cameron Deaver
> CAM@WORDPERFECT.COM
>
Cameron,
I'm dealing with similar questions in a paper about space in contemporary
text-based productions. Some things I've looked at alone the way which
might be of use to you are: George Kernodle's "From Art to Theatre: Form
and Convention in the Renaissance." The two first chapters deal with
pre-Renaissance theatre and the bibliography is especially useful. "The
Theatrical Space" edited by James Redmond, vol. 9 in the Themes in Drama
series, Cambridge University Press; especially Pamela King's essay "
Spatial Semantics and the medieval Theatre."
For an art-historical perspective you may want to check Gombrich, Arnheim
and Panovksy.
If you have any tips about the relationship of the development of
dramatic structure and conventions of space perception, I'd be very
grateful to hear about them.
Good luck with your research.
Janet Colletti
email: hmb@kth.se
=========================================================================
Date: Sun, 16 Apr 1995 16:32:45 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: DAVIDSON@WMICH.EDU
Subject: Re: Help a poor student with a paper?
In-Reply-To: Your message dated "Sat,
15 Apr 1995 01:37:35 +0200" <199504150417.AAA24860@gw.wmich.edu>
Recommend _The Staging of Religious Drama in Europe in the Later Middle
Ages_, edited by Peter Meredith and John Tailby, for lots of easily
accessible information on continental staging. This does not focus on the
Nicholas plays (and Adam de la Halle is another matter), but it is a treasure
trove of information in translation.
Clifford Davidson
=========================================================================
Date: Sun, 16 Apr 1995 22:29:54 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: Re: Help a poor student with a paper?
Cliff Davidson is quite right about the value of the Meredith-Tailby
book. Here are some others you might want to consider in your research
about the pragmatic and symbolic use of space in the early theatre:
Henri Rey-Flaud, _Le Cercle magique: Essai sur le theatre en rond a
la fin du Moyen Age_ (1973)
Elie Konigson, _L'Espace theatral medieval_ (1975)--sorry, I can;t do
diacritical marks yet)
Rainer Schmid, _Raum, Zeit und Publikum des geistlichen Spiels : Aussage
und Absicht eines mittelalterlichen Massenmediums_ (1975)
Valentino Mancini, "Publique et espace scenique dans le theatre du
moyen age," _Revue de la Societe d'Histoire du Theatre 4 (1965): 387-403.
Hope this helps.
Steve Wright
Catholic University
wrights@cua.edu
=========================================================================
Date: Mon, 17 Apr 1995 13:10:37 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Graham A. Runnalls"
Organization: Arts
Subject: Re: Space, medieval theatre and the JSN
I have only just caught up with the correspondence about theatrical
space and the Jeu de Saint Nicolas (JSN). Several respondents have
already given good advice and bibliographical info. The other book
by Henri Rey-Flaud, *Pour une dramaturgie du Moyen Age* (Paris PUF
1980), is all about the JSN (in spite of its title). It attempts to
cover many of the problems you raise, and proposes a (fanciful?)
reconstruction of the staging of the play in the round, in the light
of Southern and the Seinte Resurreccion prologue.
With regard to French medieval drama, I would say the following.
You are indeed raising some immense issues, and ones where the
desire for hypothesis often outstrips documentation. For example, no
hard info exists on the real performances of the JSN and the
Feuillee. If you want to work on space *and* texts, you need examples
of surviving texts, with documentation about performance. There are
not too many of these. Three examples of French mystery plays which do
provide most of the above information are: La Passion de Mons, Les
Trois Doms de Romans and the Passion de Chateaudun.
I have in my possession a copy of an unpublished thesis by Georges-
Philippe Danan (Strasbourg 1984) entitled *La Mise en espace des
sequences dramatiques profanes : France XIIIeme et XIVeme siecles*.
The 300-page thesis includes chapters on Jeu de Robin et Marion, Jeu
de la Feuillee, Le Garcon et l'Aveuge, Farce de maitre Trubert,
Griseldis (and a few others). Georges-Philippe Danan is the current
French representative of the SITM and his address is: 30 rue Eugene
Carrere, 75018 Paris. He is an eager correspondent, and his present
interests have much in common with yours, as a paper he gave in Paris
last May testified. Like most French academics, he is not emailised.
If you are working on hypotheses concerning the relationship between
space and the "content" of plays (whether serious or comic), you need
to know to what extent plays were written with a particular
performance (or performance place) in view. How often can we know
that? To what extent did the playwrights (who most often were simply
men who adapted existing texts, rather than original creators)
actually know how or on what playing area their text was to be
performed? How closely did playwrights and stage directors cooperate
in the Middle Ages?
One book (Dorothy Penn, NY 1933) on the 14th C Parisian Miracles de
Nostre Dame par personnages concludes, I seem to remember, that when
the Parisian Goldsmiths bought a new guild hall, the number of sets
used in their plays increased. It sounds a nice idea. But more
hypothesis that documented fact.
And then there is the permanently dangerous source of information
that is iconography: Fouquet, Valenciennes, Castle of Perseverance...
You are hearing the voice of a (provocative, I hope) sceptic.
A suivre?
Graham A. Runnalls
Department of French
University of Edinburgh, UK
Email also at : g.a.runnalls@ed.ac.uk
=========================================================================
Date: Mon, 17 Apr 1995 11:57:48 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Wright
Subject: Re: Space, medieval theatre and the JSN
There is little to add to what has already been suggested by Graham
Runnalls and others, but you might also want to check out Elie
Konigson's _La Representation d'un mystere de la Passion a Valenciennes
en 1547_ (Paris, 1969), which uses rubrics and illuminations from the
2 surviving MSS of the text in an attempt to recover information
about stagecraft, blocking of scenes, movement of actors, etc.
Steve Wright
Catholic University
wrights@cua.edu
=========================================================================
Date: Mon, 17 Apr 1995 13:45:00 CDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Robert Clark
Subject: Re: Help a poor student with a paper?
To Steve Wright's list, you might add Rey-Flaud's other book, _Pour une
dramaturgie du Moyen Age_, which proposes a detailed staging of the _Jeu
de Saint Nicolas_. Anyone have a take on R-F's staging? I think it
should be taken with extreme caution. R-F knows a great deal about
staging, but, from what I gather, he greatly exaggerates the predominance
of "in the round" staging. And he bases his _Saint Nicolas_ staging on
documents from other periods, in particular the Fouquet miniature of the
martydom of Sainte Apolline. Another place to look for details about
staging is Graham Runnalls's article on "mansion," etc. Sorry I don't
have the ref. at hand. But Graham is on the list and can supply it, I'm
sure.
Hope this helps.
Bob Clark
=========================================================================
Date: Tue, 18 Apr 1995 17:36:29 +0200
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jelle Koopmans
Subject: Re: Space, medieval theatre and the JSN
In-Reply-To: <01HPG5DJLO2AA74BOC@SARA.NL>
For a new hypothesis on the representation of the Jeu de la Feuillee, see
the new edition of Adam de la Halle's works in Livre de Poche (Lettres
Gothiques) by P.-Y. Badel. As for documentation on mystery performances,
the Valenciennes Passion is also quite well documented (see Konigson's
study, 1969). A suivre (please?)
Jelle Koopmans
French Dept
University of Amsterdam
Spuistraat 134
NL-1012 VB Amsterdam
=========================================================================
Date: Wed, 19 Apr 1995 10:31:30 -0600
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Cameron Deaver
Subject: Thank you!
I appreciate your responding to my request. Please let me know if I can
return the favor in any way.
Merci
Cameron Deaver
CAM@WORDPERFECT.COM
>>> Jelle Koopmans 4/18/95 9:36 am
>>>
For a new hypothesis on the representation of the Jeu de la Feuillee, see
the new edition of Adam de la Halle's works in Livre de Poche (Lettres
Gothiques) by P.-Y. Badel. As for documentation on mystery
performances, the Valenciennes Passion is also quite well documented
(see Konigson's study, 1969). A suivre (please?)
Jelle Koopmans
French Dept
University of Amsterdam
Spuistraat 134
NL-1012 VB Amsterdam
=========================================================================
Date: Fri, 21 Apr 1995 09:27:10 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: RIGGIO@ADS.CC.TRINCOLL.EDU
Subject: MRDS MEETING AT KALAMAZOO
ATTENTION TO ALL MRDS MEMBERS COMING TO KALAMAZOO IN MAY!
The MRDS business meeting (an important meeting, at which we plan
to emend our bylaws) has been changed from the time announced in
the program. As scheduled, it would have conflicted with a
performance by Martin Walsh. So below is what we're planning:
NO: DO NOT LOOK FOR US IN THE FOX LOUNGE AT 5:00 AS ANNOUNCED IN
THE KALAMAZOO PROGRAM.
YES: WE WILL CONVENE TO WATCH MARTY'S PLAY AS ANNOUNCED IN THE
PROGRAM AT 5:00 P.M. IN ROOM 1005 OF THE FETZER CENTER. THE
PERFORMANCE, WHICH WILL LAST ONLY ABOUT 35 MINUTES, SHOULD IN
ITSELF BE WORTH THE WALK TO FETZER.
THEN THE MEETING WILL TAKE PLACE IN THE SAME ROOM IMMEDIATELY
AFTER THE SHOW! PLEASE NOTE THIS; SPREAD THE WORD; MAKE SURE
THE CHANGE IS ANNOUNCED IN EVERY SESSION YOU ATTEND.
AND WE'LL SEE YOU IN THE FETZER CENTER.
(Thanks to Clifford Davidson for catching the conflict!)
Milla Riggio
Outgoing Secretary MRDS
=========================================================================
Date: Mon, 24 Apr 1995 10:55:31 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "T. Scott Clapp"
Subject: Call for Papers
CALL FOR PAPERS
The Future of the Middle Ages and the Renaissance:
Problems, Trends, and Opportunities in Research
February 15-17, 1996
ACMRS at Arizona State University invites papers for its
second annual interdisciplinary conference on Medieval
and Renaissance studies on the general topic of problems
and new directions in the study of the Middle Ages and
Early Modern period. Possible session topics include, but
are not restricted to:
problems of interdisciplinarity
integrating literature and history
local history versus period history
copyright and technology
textual studies
the new philology
politics and agendas of disciplines
the future of Med/Ren studies in art history,
history, literature, religion, economics, etc.
While we want a broad spectrum of area studies
represented, we are particularly interested in papers on
Scandinavian, Baltic/East European, Judaic, and
Mediterranean Studies. There will also be a number of
open sessions.
Papers accepted for sessions on Mediterranean Studies will
have passed the first level of review for publication in the
journal Mediterranean Studies, sponsored by the
University of Massachusetts at Dartmouth, the Medieval
and Renaissance Colloquium (MARC) at the University of
Michigan, and ACMRS at Arizona State University.
The conference will be held at the Radisson Mission
Palms Hotel, two blocks from the ASU campus in Tempe,
a suburb of Phoenix, Arizona. The high temperature in
the "Valley of the Sun" during February averages 70
degrees.
Proposals for sessions and detailed abstracts or complete
papers will be accepted beginning July 1, 1995. The
deadline will is November 1, 1995.
Please send two copies of your abstract, paper and/or
session proposal, along with two copies of your c.v., to
the program committee chair: Robert E. Bjork, Director,
ACMRS, Arizona State University, Box 872301, Tempe,
AZ 85287-2301. Email: atreb@asuvm.inre.asu.edu.
Phone: (602) 965-5900. Fax: (602) 965-1681.
T. Scott Clapp, Program Coordinator
ACMRS (AZ Center for Medieval and Renaissance Studies)
Arizona State University
Box 872301
Tempe, AZ 85287-2301
Phone: (602) 965-5900; FAX: (602) 965-1681
=========================================================================
Date: Mon, 24 Apr 1995 17:58:10 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Karen Saupe
Subject: TEAMS: Teaching the Middle Ages
(Cross-posted with apologies to forgetful readers and victims of slow
modems)
The Consortium for the Teaching of the Middle Ages (TEAMS) sponsors
several sessions at Kalamazoo each spring. The TEAMS board will meet
during this year's Congress to begin planning for 1996, and I would like
to present YOUR suggestions at that meeting. At this stage we are eager
for anything from general topic suggestions (related to the teaching of
the Middle Ages) to specific session proposals. If you'd like
to organize or chair a session, or if you can recommend appropriate
colleagues, that information would be helpful as well.
Please email your ideas to me at ksaupe@calvin.edu by May 3.
(I imagine many subscribers would prefer you email me privately instead
of replying to the group...and it will help me if you put TEAMS in the
subject header.)
Thanks!
Karen Saupe
Department of English
Calvin College
=========================================================================
Date: Thu, 27 Apr 1995 18:31:19 EDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Plural Sculpture
Subject: Intro
Forwarded message:
From plrlart Thu Apr 20 20:05:40 1995
From: plrlart (Plural Sculpture)
Message-Id: <9504210005.AA14363@brick.purchase.edu>
Subject: Intro
To: plrlart (Plural Sculpture)
Date: Thu, 20 Apr 95 20:05:38 EDT
X-Mailer: ELM [version 2.3 PL11]
The Purchase College (formally S.U.N.Y. Purchase), is collaborating
with artist Jochen Gerz, in a interactive "sculpture" on the net. The
project is supported by Purchase college, The Nueberger Museum of Art, the
Public Art Fund, The New York Kunsthalle and Etant Donne paris/N.Y.
This is the first stage of our project: proposing a question to various
viewers. The question asks the participant their perception of time,
and it's relation to art. We will use this information as the basis for
our "sculpture". We invite you to participate in our project by posting
our URL at: http://gaudi.va.purchase.edu/plrlart.
Thank You,
Collaborators.