By Margaret Rogerson
The York secret Plays are a cycle of initially played on wagons within the urban. They date from the fourteenth century and Biblical narrative from production to final Judgment. After approximately 400 years with out a functionality, a revival of the York Mysteries started in 1951 whilst neighborhood amateurs led by means of expert theatre practitioners staged them in the course of the competition of england. Playing an element in History examines the ways that the revival of those performs remodeled them for 20th- and twenty-first-century audiences.
Considering such themes because the modern approval for the performs, the agendas of the revivalists, and significant construction transformations, Margaret Rogerson presents a desirable comparability of medieval and glossy English drama. Drawing largely on archival fabric, and newspaper and educational reports of the performs in recent times, Playing an element in History isn't just an illuminating account of early English drama, but additionally of the ways that theatre permits humans to have interaction with the past.
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Additional info for Playing a Part in History: The York Mysteries, 1951 - 2006
S. C. Benfield. No list can ever be complete in this context because without the members of the local amateur theatre groups and the other largely unsung volunteers who played their part in 1951, the modern history of the York mysteries could not have even begun. The Need for Change As will become evident in the first two chapters of this study, the changes made to the mysteries in 1951 were violent, but it is the nature of theatre ever to be remade with the next performance. Dramatic works survive by enticing new participants and allowing new approaches.
B. S. C. Benfield, Keith Thomson, the artistic director of the festival, and Hans Hess, the assistant artistic director. These were all influential men with common interests in education, history, the arts, and most importantly, an overarching interest in York. Any of them could have known about the mysteries, which featured in the many histories of the city available and in the published collections of local records. Some of them could have seen mystery play performances in York, for although Browne was the first modern director to bring an abridged version of the entire cycle to the stage there, his mysteries were preceded by a number of other smaller-scale productions.
These three stations indicated the dignity of the medieval mysteries as a civic event and as a devotional act, approved – at least until the troubles of the late sixteenth century – by the local representatives of the established church. Development and Demise Some form of ‘Corpus Christi’ theatre was in place by 1377 and the register was largely completed to its present form about one hundred years later. ’ Performances went ahead as usual on the date of the extinct festival, although the final medieval production in 1569 was on Whitsun Tuesday.