PERFORM Log
May 1996
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Date: Wed, 1 May 1996 10:53:00 EDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: bill mccarthy
Subject: Re: Creative and anachronistic events
In-Reply-To: hurlbutj AT JKHBHRC.BYU.EDU -- Tue, 30 Apr 1996 17:36:12 -0700
I know this isn't a creative anachronism list. (I looked but was not able to
find such, though it must be out there.)Nevertheless, I think there are
people out there who can help me. I am interested in the finding out:
Place and Date of a Medieval Battle allegedly to take place in
Western Pennsylvania this summer -- and annually, as I understand.
Date of the Renaissance Fair in Butler, PA, this summer.
Info on other such events in Western PA or Eastern Ohio or Southwest NY
Thanks in advance for any tips. Bill McCarthy, Penn State, DuBois.
(WBM3@PSUVM.PSU.EDU)
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Date: Wed, 1 May 1996 11:09:04 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Andrea Benton
Subject: Re: Creative and anachronistic events
In-Reply-To:
On Wed, 1 May 1996, bill mccarthy wrote:
> I know this isn't a creative anachronism list. (I looked but was not able to
> find such, though it must be out there.)Nevertheless, I think there are
> people out there who can help me. I am interested in the finding out:
>
> Place and Date of a Medieval Battle allegedly to take place in
> Western Pennsylvania this summer -- and annually, as I understand.
Hello!
There are many lists for the S.C.A. (Society for Creative Anachronism)
out there, but to answer your question about Pennsic (THE BIG BATTLE) and
other events, I suggest you try the newsgroup rec.org.sca. They can answer your
questions, and direct you to a listserver near you.
Andrea Benton
abenton@acenet.auburn.edu
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Date: Thu, 2 May 1996 21:32:41 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: MRDS Newsletter Online
A sneak preview version of the MRDS newsletter is now available at
the following WWW location (an abbreviated version will appear here
on PERFORM tomorrow):
http://www.byu.edu/~hurlbut/mrds/spring96.html
Thanks,
Jesse_Hurlbut@byu.edu
=========================================================================
Date: Fri, 3 May 1996 09:46:38 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: MRDS Newsletter (Preview)
MRDS Newsletter (Preview)
SPRING, 1996
Also available on the WWW:
http://www.byu.edu/~hurlbut/mrds/spring96.html
===================================
MRDS AT KALAMAZOO, May 9-12, 1996
Session 156. Friday, May 10
1:30 p.m. Room 300
Crossdressing on the Medieval Stage
Organizer: Robert Clark, Kansas State University
Presider: Theresa Coletti, University of Maryland
1. "Young Wives Played by Males: The Case of Percula in York 30,"
Richard Rastall, University of Leeds
2. "'Wigstock' 1496: Transvestism in the Medieval English Cycle
Drama," Marlene Clark, Graduate Center-CUNY
3. "'Into a womannys Iiyckenes': John Bale's Personification of
Idolatry," Garrett Epp, University of Alberta
===================================
Session 196. Friday, May 10
3:30 p.m. Room 300
Hrotsvit: Dramatic Works
Organizer & Presider: Margaret Pappano, Columbia University
1. "Hrotsvitha Says 'Burn This': Worthy Words for Wealthy Women,"
Julie Crosby, Columbia University
2. "Hrotsvita Writes Herself: Clamor Validus Gandeshemensis,"
Barbara Gold, Hamilton College
3. "A Funny Thing Happened on the Way to the Cloister: Hrotsvitha
and the Tradition of Ancient Comedy," Mark L. Damen, Rice University
Respondent: James Dominick Cain, Columbia University
===================================
BUSINESS MEETING:
Friday, May 10 at 5:00 p.m. Stinson Lounge
===================================
Session 324. Saturday, May 11
3:30 p.m. Room 300
Between the Acts: Early English Drama from the Henrician Act of
Uniformity (1534) To the Elizabethan Settlement Act (1559)
Organizer & Presider: John C. Coldewey, University of Washington
1. "Parish Drama and Parish Crisis in England: 1535-65," Alexandra
Johnson, University of Toronto
2. "New Models for Court Drama: 1535-62," William R. Streitberger,
University of Washington
3. "Civic Pomp and Reformed Circumstance: The London Midsummer Watch
and its Fortunes, 1535-1565," Anne Lancashire, University of Toronto
4. "Traces of the Medieval in Early Protestant Polemical Drama,"
Peggy Knapp, Carnegie Mellon University
===================================
Session 430. Sunday, May 12
10:30 a.m. Room 1120 Schneider
Theater, Dance, and Spectacle in the New World
Organizer: Max Harris, Wisconsin Humanities Council
Presider: Milla Riggio, Trinity College
1. "Death and the Art of Archery: A Sixteenth-Century Morality Text
from Aztec Mexico," Robert Potter, University of California-Santa
Barbara
2. "Holy Week Rituals in Sixteenth-Century Spain and New Spain,"
Susan Webster, University of St. Thomas
3. "The Testimony of Antonio de Ciudad Real: Native Dances,
Christian Plays, and Military Theatre in Sixteenth-Century New
Spain," Max Harris
4. "The Indian in the Allegory: Native Elements in the Pageants and
Entries of Early New France," Martin W. Walsh, University of
Michigan
=================================
PAST EVENTS
From Poculi Ludique Societas
The Medieval and Renaissance Players of Toronto
______December 1995 Newsletter_____
The popular morality play Mankind - perhaps PLS' most
performed
play, with at least three prior productions - enjoyed a short but
successful run October 19 to 22 in conjunction with the Centre for
Medieval Studies' Annual Conference, "Paths and Destinations." The
play was performed in the Junior Common Room of University College, a
tudor-style hall which is particularly suitable for the performance.
Thanks to the enthusiastic efforts of the cast and the support of the
PLS team, directing Mankind was as much fun as expected. From the
constantly hilarious antics of the Vice characters to the solemn
experiments with the colour and consistency of the edible excrement,
there was never a dull moment in our all-too-brief rehearsal period.
Ruth Barrett as a strong, caring Mercy maintained the moral balance of
the play against the barely-controlled comic chaos of Mischeif and her
three stooges.
Mankind was also "revived" for a second production in January,
functioning as a fundraising event for PLS. It was performed on
Sunday, January 14, 1996, at 2:30 p.m. at the Alumni Hall, Victoria
College.
MEDIEVAL ENGLISH THEATRE
March 30, 1996
UNIVERSITY OF ST. MARTIN, LANCASTER
What can the study of folk theatre tell us about medieval English
drama?
The meeting was held in the Humanities Block at UCSM, from
10:00
a.m. to 5:00 p.m. on Saturday, March 30, 1996. Two guest speakers
were featured:
Max Harris, Wisconsin Humanities Council: Reading the Mask: towards a
Hermeneutics of Folk Theatre & Thomas Pettitt, Deptof English,
University of Odense: Mummers Plays and Medieval Theatre
And over lunchtime, the Abram Morris Men performed the Lancaster
Pace-eggers' Play.
===================================
UPCOMING EVENTS
NOVUS
ET
ANTIQUUS
The Twenty-Seventh Annual
Interdisciplinary Cases Conference
The Committe for the Advancement of Early Studies
Friday and Saturday, October 18-19, 1996
Ball State University
Call for Papers/Abstracts
Areas of Classical, Early, Medieval, and Renaissance Studies, such as
Anthropology, Architecture, Art, Economics, Education, Foreign
Languages and Literature, History, Language and Literature of England,
Law, Mathematics, Music, Pedagogy, Philosophy, Politics, Religion,
Science, Social Structure, Theology
$1000 Incentive Award
The Committee for the Advancement of Early Studies in conjunction with
the editors of Classical and Modern Literature: A Quarterly announce
the 1996 $1000 Incentive Award, offered by the editors of the
Quarterly for outstanding scholary work in the combined fields of a
Classical (Ancient Greek or Latin) and a Modern Literature or Culture.
Eligible for this award are scholars who have or will have had the
Ph.D. Conferred between 1 January 1989 and 1 July 1996. Send to the
Convener statements of nomination (name, academic address, field of
specialization, short vita) along with supporting materials (paper,
list of publications and papers, support letters if desired). The
winner of the 1996 award will present the paper at the Conference and
then receive the award from the editors of the Quarterly at the
Conference Banquet. Deadline: May 15, 1996.
Novus Competition
The Committee for Advancement of Early Studies invites established
scholars to share their years of experience and valuable research with
the conference participants. Finished papers should be limited to a
twenty to twenty-five minutes presentation in order to leave five to
ten minutes for questions. Please send five copies of a one page
abstract to the Convener. Deadline: May 15, 1996.
Undergraduate Prizes in Early Studies
The competition is for ten- to fifteen-page essays by superior
undergraduate students. All suitable papers will be awarded
presentation time of twenty to twenty-five minutes, and small monetary
prizes will be awarded for the best research presented. Please send
five copies of the completed paper to the Convener.
Deadline: May 15, 1996
Call for Session Chairs and of Organizers of Special Sessions
If you would like to chair a session of the conference, please write
me as soon as possible. If you would like to sponsor a special
session, please write immediately:
Bruce W. Hozeski
Convener, CAES Conference of 1996
Department of English
Ball State University
Muncie, IN 47306-0460
Telephone: (317) 285-8456 or (317) 285-8580
Fax: (317) 285-3765
Email: 00BWHOZESKI@BSUVC.BSU.EDU
Note: The CAES Conference continues to welcome presentations from all
academic areas of Early, Medieval and Renaissance Studies and wishes
in particular to expand the number of presentations in Classical
Studies, including the Classical Tradition.
===================================
COMPARATIVE DRAMA
Vol. 29, No. 4 (Winter, 1995-96):
CONTENTS
"Master Harold" and the Bard: Education and Succession in Fugard
and Shakespeare
David E. Hoegberg
A Reassessment of the Date and Provenance of the Cornish Ordinalia
Gloria J. Betcher
Shakespeare's Italian Dream: Cinquecento Sources for A Midsummer
Night's Dream
Robert W. Leslie
Liturgy and Community in N-Town Passion Play I
Victor I. Scherb
Settling House in Middleton's Women Beware Women
Ann C. Christensen
Reviews:
Peter Happe: Jonson and the Contexts of His Time,
by Robert C. Evans
Ralph Berry: Gender in Play on the Elizabethan Stage: Boy Heroines
and Female Pages,
by Michael Shapiro
Robert C. Evans: Theatre and Government under the
ed. J.R. Mulryne and Margaret Shewring
Margaret J. Arnold: Shakespeare's Christian Dimension: An Anthology
of Commentary,
ed. Roy Battenhouse
Grace Tiffany: Recovering Shakespeare's Theatrical Vocabulary
by Alan C. Dessen
Index to Volume 29
===================================
Vol. 30, No. 1 (Spring 1996)
A Special Issue in Scandinavian Drama
CONTENTS
"'The Rights of the Player': Evidence of Mimi and Histriones in early
Medieval Scandinavia," by Terry Gunnell
"A Newly Discovered Fragment of a Visitatio Sepulchri in Stockholm,"
by Nils Holger Petersen
"'Diverse Galskaber' in Ibsen's The Wild Duck" by Brian Johnston
"Strindberg's Cosmos in A Dream Play: Medieval or Modern,"
by Goeran Stockenstroem
"The Virgin Spring and The Seventh Seal: A Girardian Reading,"
by William Mishler
*Extra copies of this special issue will be printed for $10 each.
Please order them from Comparative Drama, c/o Medieval Institute
Publications, Western Michigan University, Kalamazoo, MI 49008 (or get
a year's subscription or an individual for only $18).
===================================
Back Issues of Comparative Drama
All back issues are available in Microform from University
Microfilms International. For information write: Dept. F.A., 300
North Zeeb Road, Ann Arbor, Michigan, 48106, U.S.A, or Dept. F.A.,
18 Bedford Row, London WC1 4EJ, England.
Back numbers of Comparative Drama may be obtained at $10.00 per issue
from Medieval Institute Pulbications; most numbers are in short
supply, and the following are out of print: Vols. 1-3; Vol. 7, Nos.
1-3; Vol. 7, Nos. 1, 3-4; Vol. 8, Nos. 1-3; Vol. 9, No. 3; Vol. 10,
Nos. 1-2; Vol. 11, Nos. 2-4; Vol. 12, No. 1; Vol. 19, No.3; Vol. 20,
Nos. 1-4; Vol. 22, No. 2; Vol. 23, No. 4. Complete Vols. 4-6, 13-18,
21, 24 29 (four issues each) are available for $35.00 per volume
year.
The following special issues are available as paperbound books from
Medieval Institute Publications: Vol. 25, No. 1, as Iconographic and
Comparative Studies in Medieval Drama ($10.95); Vol. 27, No. 1, as
Medieval Drama on the Continent of Europe ($12.00); Vol. 28, No. 1,
as Early and Traditional Drama: Africa, Asia, and the New World
($12.00); and Vol. 29, No. 1 as Emblem, Iconography, and Drama
($12.00); add $3.00 for handling and mailing for the first book, $.50
for each additional book.
Address editorial correspondence to: The Editors, Comparative Drama,
Department of English, Western Michigan University, Kalamazoo, MI
49008-3899, U.S.A. Books for review should also be sent to this
address.
Business and production office: Comparative Drama, Medieval
Institute Publicationsk, Western Michigan University, Kalamazoo, MI
49008-3801, U.S.A. Checks (in U.S. Dollars only and drawn on an
American bank) should be made payable to "Comparative Drama";
Mastercard and Visa are now accepted (expiration date required).
===================================
EDAM
Early Drama, Art, and Music Review, Vol. 18, No. 2 (Spring 1996)
Contents
* "A Tempting Theory: What Early Cornish Mermaid Images Reveal
about the First Doctor's Analogy in Passio Domini ," by Gloria
Betcher
* "Set Pieces and Special Effects in the Liturgical Drama - I," by
Dunbar H. Ogden
* "From Synthesis to Compromise: The Four Daughters of God in Early
English Drama," by Hans-Juergen Diller
* "English Law in the York Trial Plays," by Elza C. Tiner
Reviews: Ingrid Peterson, O.S.F., Richard K. Emmerson, Douglas Sugano
Performances: Fletcher Collins, Jr.
Recent Publications (includes publications of interest in art and
music, as well as drama).
The Early Drama, Art, and Music Review (formerly The EDAM Newsletter
and now also incorporating Medieval Music-Drama News) is published by
Medieval Institute Publications, Western Michigan University,
Kalamazoo, MI 49008, U.S.A. Subscriptions are $8 per year for
individuals and $10 for institutions. Payment in U.S. funds or by
VISA or Mastercard is required. Manuscripts submitted for possible
publication should be sent to: The Editor, The Early Drama, Art, and
Music Review, The Medieval Institute, Western Michigan University,
Kalamazoo, MI 49008. Especially welcome are short articles or notes
of interest to researchers working on drama, art, and/or music. Short
reviews or notices of performances of medieval music-dramas are
invited. Brief news items are also included as space allows.
===================================
INDIVIDUAL PUBLICATIONS
Clifford Davidson
* editor, Fools and Folly, published by EDAM
-Contents-
List of Illustrations
Introduction by Clifford Davidson
"The Cheval fol of Lyon and Other Asses," by Sandra Billington
"The King His Own Fool: Robert of Cicyle," by Martin W. Walsh
"Forgotten Fools: Alexander Barclay's Ship of Fools," by Robert C. Evans
"Staging Folly in the Early Sixteenth Century: Heywood, Lindsay, and
Others," by Peter Happe
"The Fool as Social Critic: The Case of the Dutch Rhetoricians' Drama," by
W.N.M. Huesken
"Sienese Fools, Comic Captains, and Every Fop in His Humor," by Robert W. Leslie
Index
E. Catherine Dunn:
* "The Farced Epistle as Dramatic Form in the Twelfth Century
Renaissance," Comparative Drama 29 (Fall 1995), 363-81.
Max Harris:
* "The Dramatic Testimony of Antonio de Ciudad Real: Indigenous
Theatre in Sixteenth-Century New Spain" will appear in Colonial Latin
American Review , Vol. 5, no.2, 1996.
* "The Return of Moctezuma: Oaxaca's danza de la pluma and New
Mexico's danza de los matachines " will appear in The Drama Review
some time in 1996.
Lisa Hopkins
* "Renaissance Queens and Foucauldian Carcerality," forthcoming
in Renaissance and Reformation
* "French Accents in the Henry VI Plays?" forthcoming in Folio
* "'Denmark's a Prison': Hamlet and the Earl of Bothwell," forthcoming
in Hamlet Studies
* "'Absolute Milan': Two Types of Colonialism in The Tempest," in The
Journal of Anglo-Italian Studies 4 (December 1995)
* "Art and Nature in Women Beware Women," forthcoming in Renaissance
Forum
Dale B.J. Randall
* Winter Fruit: English Drama, 1642-1660
Probably the most blighted period in the history of English drama
was the time of the Civil Wars, Commonwealth, and Protectorate. With
the theaters closed, the country at war, the throne in fatal decline,
and the powers of Parliament and Cromwell growing greater, the
received wisdom has been that drama in England largely withered and
died. Not so, demonstrates Dale Randall in this magisterial study,
the first book in nearly sixty years to attempt a comprehensive
analysis of mid seventeenth century English drama. Throughout the
official hiatus in playing, he shows, dramas continued to be
composed, transmuted, published, bought, read, and even covertly
acted. Furthermore, the tendency of drama to become interestingly
topical and political grew more pronounced. In illuminating one of
the least understood periods in English literary history, Randall's
study not only encompasses a large amount of dramatic and historical
material but also takes into account much of the scholarship
published in recent decades. Winter Fruit is a major interpretive
work in literary and social history. 456 pages ISBN 0-8131-1925-1;
Cloth $39.95 Phone orders: 1-800-666-2211
=========================================================================
Date: Sun, 5 May 1996 13:12:55 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: MR VICTOR I SCHERB
Subject: The Maternal in Medieval Drama
As a service to the members of PERFORM, I have gotten permission from
the panel participants to post abstracts from the Kalamazoo session
on "The Maternal in Medieval Drama," to be held on Sunday, May 12th
at 8:30 AM in Room 307. The session is sponsored by the Texas
Medieval Association. All typos are the responsibility of Victor I.
Scherb, session organizer.
"Silencing the Mother's Voice in the Fleury Ad Interfectionem
Puerorum"
In the 12-century Fleury Ad Interfectionem Puerorum, a ceremony for
the feast of the Slaughter of the Innocents, the mother's voice
contradicts and disturbs the hegemonic message of the liturgical
drama. The play begins and ends with the raising of jubilant voices:
the Innocents progress at the start gaudentes, "[o] quam gloriosum
est regbnum," and Joseph's voice concludes with "Gaude, gaude, gaude .
. . ." This exaltation of the glorious martyrdom of the Innocents
is fundamental to Christianity, what appears to the human eye to be a
terrible loss is in the Christian reality an act of divine grace.
However, the joy is not shared by all. While the children themselves,
the consolers, and Joseph all praise God for the salvation of the
Innocents. Rachel, the earth-bound mother, bitterly laments the
cruel slaughter of the "teneri partus." The voice of Rachel refuses
to be silenced, even by the imposing architecture of the play.
In this paper, I propose to show how the various elements of the
drama instantiate this dialectical struggle in which the voice of the
mother is in dissonance with the voice of God. The language of the
consolers, formal and dominant, struggles to silence the graphic
realism of Rachel's voice. The structure of the play is a series of
frames or brackets which enclose the central moment of Rachel's
lamentation. The setting in the nave of the cathedral provides an
architectural and visual reiteration of the rising and falling voices.
The music, perhaps the most powerful component, has the consolers
echo but never achieve the height of Rachel's soaring melismatic
planctus. The result is not a synthesis, however, but an exhortation
to hear one voice and not other.
Despite the weight of the hegemonic message, the voice of the mother
cannot be silenced, making the way to salvation for the audience more
problematic. Ad Interfectionem Puerorum is a reenactment of the
miracle of transcendent martyrdom disturbed by the power of too-human
understanding, the inability of the mother to love God more than her
children.
Denise Ryan The University of Sydney
"Challenged Motherhood: the Maternal Instinct in the English Cycle
Drama"
This paper examines the portrayal of female figures in the English
mystery plays who are threatened with and/or suffer the death of
their children. Primarily considered will be the women from some of
the 'Slaughter of the Innocents' plays who, amongst other strategies
aimed at protecting their charges, employ a highly stylized language
of insult against the soldiers who have come to kill the children. In
contrast to Theresa Coletti's recent work on these plays, in which
she describes the women as adopting 'male attributes of combat' in
their verbal battle with the soldiers ('Mediaevalia', 18, 1995), I
contend, in light of the work of social historians such as Laura
Gowing, that the women's appropriation of the discourse of slander is
gender specific, and that they adopt an essentially female mode of
combat in insulting the soldiers, through which they confirm their
moral superiority in relation to this conflict.
It is of note in both the Digby and Chester versions of this play
that, though the women lose their battle insofar as the children are
ultimately killed, they are granted some immediate compensation with
the death of Herod, in which, particularly in the Digby play, they
are to some degree implicated. The extent to which women are
empowered through their roles as mothers in the mystery plays will be
examined with regard to the typological links between Mary mourning
the crucified Christ, the women from the 'Innocents' plays suffering
the loss of their children, the role of Sara in the 'Sacrifice of
Isaac' plays and, in the Chester cycle, Eve's grief on learning of
Abel's death. I argue that women were positively defined in relation
to their roles as mothers in the late medieval and early modern
period, and that 'challenged motherhood' is a recurring motif in the
English cycle plays, which has the effect of creating a uniquely
affirming and legitimizing space for women within these texts.
Regula Meyer Evitt, San Francisco State University
"Bulging Bounds, 'Frely Foode,' and the Eucharistic Maternal in the
Wakefield Salutation of Elizabeth"
By staging the evisceration of Christ's body graphically, the
crucifixion plays of the cycle plays of the cycle drama present the
audience with the paradox of social wholeness achieved through
fragmentation and disruption. Mary's visibly pregnant body in the
nativity plays, however, while similarly acknowledging a breaching of
boundaries also insists on the self-containing unity of the breach.
Even if she is herself absolutely inviolable, that Mary carries a
child clearly demonstrates the elasticity, the moveable boundaries of
her female body. The cycle drama circumvents the obsession with the
hermetically sealed womb so similar in patristic exegesis on female
chastity (Lochrie, Margery Kempe and the Translations of the Flesh,
24-25). It does so by entertaining a bivalent view of Mary's body
from without and from within.
The nativity plays focus equally on questions surrounding the access
to and the contents of Mary's womb. Her body can, on the one hand,
register cultural dis-ease about the female body's lack of fixed
boundaries as Theresa Coletti has demonstrated in her readings of the
Joseph's troubles plays. However, in contrast to Christ's suffering
exhausted body, Mary's body stands as analog for the social body's
capacity for recuperative difference: for separate entities--in this
play quite literally child in utero and nourishing mother-- sharing
the same sustaining flesh. Caroline Walker Bynum reminds us that it
is this physiological role of the mother, "whose uterine lining
provides the stuff of the foetus (according to medieval medical
theory) and whose blood becomes breast milk" that underlies the sense
among female mystics, specifically Julian of Norwich whose collection
of Showings in contemporary with the English cycle drama, that "if
gender is to be used of God at all, Christ is mother more than father
when it is a matter of talking of the Incarnation" (Bynum, "The Body
of Christ," 418). The Wakefield cycle's Salutation celebrates this
link between flesh, woman and God's body; then takes it one step
further, not simply underscoring Christ's humanity but celebrating
Mary's material embodiment of the Holy spirit.
In complementary opposition to the disordered fragmented community
which the profaned, crucified body of Christ represents, the material
elasticity of Mary's pregnant body in the Salutation of Elizabeth
becomes emblematic of the sacralized symbiosis of the social body.
The play emphasizes her elasticity, not so much as a function of the
divinity who fathers this child but as the characteristic she shares
most vitally with other female bodies less miraculously inseminated.
The flux of her womb provides a point of material identification with
other women. Both poetically and literally the Salutation--with
stichomythic, alternating exchanges which allow visibly pregnant
women who compare the state of their bodies as a way of discussing
the general health of the social body they participate in.
In its closing passages, with characteristic lyrical intensity, the
Wakefield Salutation urges its audience to understand the enfleshing
capacity of Mary mob not merely as point of origin for Christ but as
commensurate with His Eucharistic power. She is, as Elizabeth's
playful suggests, "frely foode": co-equal with the Eucharistic power
her enfleshment of the divine makes possible. Mary's pregnant body,
"with grace infude" [infused with grace]" (89) provides the "foode"
that makes Christ's body eucharistic food. The overtones of an
"alternative trinity" tradition here, with its substitution of Mary
for the Holy Spirit, are inescapable. The eucharistic resonances of
her maternal role as food for Christ brings to mind sapiental
Mariology's iconographic tradition of the "Double Intercession" in
which both Mary and Christ appear as joint intercessors for the
Christian community with Mary offering up her lactating breast as
Christ offers his wounded side (Newman, From Virile Woman to Woman
Christ, 198-209)
If the cycle plays are about the Christian social body, then they are
most richly about the moveable female boundaries of that body. They
offer a symbiotic, double experience of the body which is distinctly
feminine: Christ's open wounds paired with Mary's incorporating
breaches. The Wakefield Salutation provides a recuperative
alternative to the silent, exhausted, broken body of Christ. Mary's
conversation with Elizabeth, with its emphasis on the joyous, bulging
bounds of both women's wombs, reverberates with the complex reality
that the unified community imagined as the outcome of eucharistic
devotion and is constituted of divergent, self-articulating members.
=========================================================================
Date: Tue, 7 May 1996 16:23:23 0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: terry wade
Subject: change of 'zoo session/session1
Change of session, 31st International Congress on Medieval Studies
Early Drama in Modern Performance Session 1 Thursday May 9, @10a.m.,
Room 300
Regretably, James Stokes, our third speaker in the session, is unable to
attend the Congress this year. In his place, however, Alexandra Johnston
(who steps graciously into the fray) previews some of her latest
findings from early 16th c. churchwardens' accounts from St. Laurence,
Reading. The session's slate now reads
From Page to Stage:How Decisions are Made
Kim Yates, University of Toronto
Responding to Garrett Epp's paper ""Director Go to Hell: PLS and the
Historical Reconstruction of Medieval Drama" Kim Yates surveys the
practice of staging medieval plays during the 20thc and examines
practical and theoretical issues faced by a director in staging early
drama.
Norfolk Records of PreProduction Work: A Contextual Look at a King's
Lynn Christmas Play
James Cummings, University of Leeds
In his exploration of King's Lynn chamberlains' accounts, dramatic
extracts published by the Malone Society, and other Lynn records, James
Cummings shifts focus away from the 'play' to the 'players', to witness
the importance of a production to the citizens of King's Lynn and
discover what can be sain about those people involved in a production of
a mid-15thc Christmas play.
Reading the records: the case of St. Laurence, Reading
Alexandra Johnston, University of Toronto
Working from transcriptions of early 16thc churchwardens' accounts from
St. Laurence, Reading, listing expenses for an Adam and Eve play, and
another about Cain, Sandy Johnston guides us through an exercise in how
to read the records, detailing ways to tease out what happened, from the
records.
Terry Wade, organizer (and compiler)
=========================================================================
Date: Tue, 7 May 1996 15:53:51 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: (Fwd) Kalamazoo Previews
(I just received these previews for papers at Kalamazoo this week from
Meg Twycross. See you all there, Jesse)
Session 114 (Thursday, 3:30):
(1) in Cliff Davidson's session on Art and Drama, Dr Pamela M. King
on 'The Bolton Hours and the York Doomsday' (or a similar title): a
complete rethink on this fascinating illuminated York manuscript and
its relation to the York Mercers' Play of Doomsday: it is all more
complex and more interesting than you think. With revelatory colour
slides.
Session 234 (Friday, 3:30)
(2) in Andrew Prescott's session on multimedia projects: Prof. Meg
Twycross on 'The York Doomsday Project': an explanation of the
project, its current state and aims, and questions arising. With (of
course) demos. For those who saw the demo at Toronto - this is not a
repeat but an update after six hard months at the coal face, during
which we have made some very interesting discoveries (vide Dr King's
'Bolton Hours' paper). Is this the future of medieval/Renaissance
drama archives?
Yours, Meg Twycross
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Date: Wed, 8 May 1996 11:26:17 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Helen Ostovich
Subject: Notice of Performance (fwd)
For people in the Toronto area: the PLS, the University of Toronto's
medieval and renaissance acting troupe, is performing *Antony and
Cleopatra* at the Helen Gardiner Phelan Theatre (formerly the UC
Playhouse) at 79A St George Street. The show opened May 1 and will be
playing Wednesday through Saturday evenings (8 pm) and Sunday
pay-what-you-can matinees (2 pm) until May 19. The text is based on the
first folio, and the performance is energetic and often enlightening.
Tickets: regular, $15, student/senior, $8. Reservations: 978-5096.
Helen Ostovich
Department of English / Editor, _REED Newsletter_
McMaster University, Hamilton, Ontario, Canada L8S 4L9
(905) 525-9140 x24496
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Date: Wed, 8 May 1996 11:56:53 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Mark Littlejohn
Subject: Re: (Fwd) Kalamazoo Previews
In-Reply-To: <78A5001B4B@jkhbhrc.byu.edu>
Hello,
My only access to the net is at school. As summer vacation is
almost here, I will be away from the system for three months. To save
space, I ask that you please unsubscribe me from PERFORM.
Thank You,
Mark Littlejohn
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Date: Wed, 8 May 1996 14:37:07 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: WARLING
Subject: Re: Notice of Performance (fwd)
In-Reply-To:
Thanks for being on the"list". It's time for summer vacation and I'll be
gone. Please discontinue, and I've enjoyed being aboard. Have a fun
summer. gypsy
=========================================================================
Date: Thu, 16 May 1996 13:21:38 0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: terry wade
Subject: group dealing with medieval medicine?
Dear Friends,
A colleague, and graduate of Oxford, now in Melbourne Australia on a
Commonwealth Scholarship, would like to know whether there's a
discussion group, like Perform, on medieval medicine. If anyone has any
ideas about who she might contact, or where she might look, please
contact
kdoran@eduserve.its.unimelb.EDU.AU
or jwade@chass.utoronto.ca (and I'll pass on the info)
Thanks for your help,
Terry Wade
=========================================================================
Date: Mon, 20 May 1996 19:00:55 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: MRDS Elections
To: MRDS Members
From: Larry Clopper
Subj: Elections
At the Business Meeting of MRDS at Kalamazoo we began the process for
nominating new members to the Council only to drop the procedure when
someone pointed out that the positions were filled. We were in error
since two members rotate off each yar and thus we need nominees for
the upcoming ballot. In addition, we failed to open nominations for
the President and Vice President. The President and Vice President
hold two-year terms and are automatically nominated for a second term,
but the floor should have been opened to other nominations as well.
Since there are more members on the PERFORM and REED-L Listservs than
were able to attend the business meeting, it seems appropriate to open
nominations electronically.
THEREFORE, WE ASK THAT ALL CONCERNED MRDS MEMBERS MAKE
NOMINATIONS FOR THE FOLLOWING OFFICES BY 30 JUNE:
President (Larry Clopper is the current President)
Vice President (Milla Riggio is the current Vice President)
Two Council Members (the current council is made up of Lois
Potter, Victor Scherb, Mimi Dixon, Martin Walsh, John Coldewey, and
Theresa Coletti. Lois's and Victor's terms will end in 1997).
VERY IMPORTANT:
Please DO NOT make nominations by simply hitting the REPLY
button; nominations should not go out over the Listservs. Instead,
send your nominations to the Secretary, Jesse Hurlbut:
Jesse_Hurlbut@byu.edu
Once we have nominations, we will ask the nominees whether they are
willing to serve. We will ask those who agree to provide biographies.
We will send the biographies out along with the ballot.
I apologize for the inconvenience. Please participate in the
process.
Best,
Larry Clopper
President, MRDS
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Date: Tue, 21 May 1996 16:38:31 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Jesse D. Hurlbut"
Organization: Brigham Young University
Subject: (Fwd) MRDS??
> No doubt I am the only person on your list who is baffled by the letters MRDS.
> Everyone else know what they stand for. But I would appreciate a full
> reference. Who knows, I might be interested in belonging!
MRDS is the Medieval Renaissance Drama Society. We sponsor academic
papers every year at the Modern Language Association Conference and
at the International Congress on Medieval Studies at Kalamazoo, MI.
In addition, we foster and promote all forms of research on early drama,
performance and related topics. We are also interested in the
reconstruction of early drama. MRDS is currently sponsoring a
series of English translations/editions of early European drama (the
first volumes are coming out soon).
Members of MRDS are rewarded with two issues of the MRDS Newsletter
each year as well as the annual volume of Research Opportunities in
Renaissance Drama (RORD) along with its Medieval Supplement.
Dues are:
US$12 /year - "Regular" Membership
US$10 /year - Graduate Students and non-tenure-track academics
We welcome anyone interested in joining.
For more information, feel free to contact me at,
Jesse_Hurlbut@byu.edu
MRDS Secretary/Treasurer
4002 JKHB
Provo, UT 84602
USA
(801)378-2448
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Date: Wed, 22 May 1996 10:45:24 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Chris Smith at Indiana University
Subject: New URL for Altramar medieval music ensemble
Of potential interest to readers of the list:
The Home Pages for Altramar medieval music ensemble have moved, to:
http://www.indiana.edu/~altramar
You can reach us via email at:
altramar@indiana.edu
Here you can find information about the ensemble, their recordings,
performances, calendar, group and individual biographies, and tons
of graphical and scholarly information, as well as:
* Information about medieval history and music on the
Internet;
* Angela Mariani's nationally-syndicated early music radio
program "Harmonia" and Chris Smith's world music program "One
World;"
* Links to B.O.M.B., Amandla, the Thesaurus Musicarum
Latinarum, the Indiana University School of Music and Early
Music Institute;
and much more!
If you maintain a Web site, and have already linked our pages,
please do update to the above URL. If not, perhaps you would
care to do so. Please feel free to visit us at the new URL.
Either way, thank you!
Altramar medieval music ensemble: Jann Cosart, Angela Mariani, David
Stattelman, Chris Smith -- PO Box 2292, Bloomington, IN 47401-9998
(voice) 812/332-6402; (fax) 812/855-0729 http://www.indiana.edu/~altramar
Recording for Dorian: "Nova Stella" (Italian Christmas music);
"Francis and the Minstrels of God" (Italian laude spirituale);
"Iberian Garden" (Jewish, Christian and Muslim Spain)
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Date: Fri, 24 May 1996 05:57:48 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Cynthia Dessen
Subject: ACTER Much Ado opening (fwd)
---------- Forwarded message ----------
Date: Fri, 24 May 1996 05:56:46 -0400 (EDT)
From: Cynthia Dessen
To: List Shaksper
Subject: ACTER Much Ado opening
Thanks to all the people who gave me information about illustrations of
Much Ado. We find we have a sudden cancellation on the Fall Tour of ACTER
with this play, for the week of Sept. 23-29. We will be in the
Tennessee-Arkansas area but will consider any offer to fill the week and
we can give a good discount. Please contact me immediately if you can
help us out and for more info, look at the ACTER website:
http://www.unc.edu/depts/acter/ - thanks, Cynthia Dessen, Manager