By S. Aronson-Lehavi
Highway Scenes offers a conception of overdue medieval appearing and function via a clean and original interpreting of the Tretise of Miraclis Pleyinge. The functionality idea point of view hired the following, in addition to the exam of actor/character dialectics, paves the way in which to understanding either non secular theatre and the complexity of past due medieval theatricalities. Sharon Aronson-Lehavi demonstrates the life of a overdue medieval discourse concerning the double allure of theatre functionality: an inventive medium enacting sacred heritage whereas concurrently relating the current lives of its creators and spectators.
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Highway Scenes offers a conception of overdue medieval performing and function via a clean and original interpreting of the Tretise of Miraclis Pleyinge. The functionality idea viewpoint hired the following, in addition to the exam of actor/character dialectics, paves the way in which to understanding either spiritual theatre and the complexity of overdue medieval theatricalities.
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Additional info for Street Scenes: Late Medieval Acting and Performance
14 Whereas in a religious context such indeterminacy and potentiality that typify performance might be conceived as dangerous, in other different cultural contexts, postmodern performance, for example, destabilization or multi-channeled appeal might be regarded positively. The tract’s objection to the “slippery” characteristic of “miraclis pleyinge” is very similar to anthropologist Victor Turner’s definition of the concepts “liminal” and “liminoid” as central to the social activity of performance.
16 This paragraph demonstrates the uncontrollable and disruptive potential of performance, even within an explicitly devotional context such as the York plays. There is the inclusion of nonscriptural materials (especially episodes that are culturally loaded such as the anti-Semitic story of Fergus who struck the Virgin’s bier), the possibility that violence and fights might evolve, and, as mentioned, noise and laughter that overcome devotion. Moreover, regardless of its negative attitude toward the performances under discussion, what is important is the theoretical direction that the ToMP constructs.
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-02 27 A T R ET ISE OF M I R ACL IS PL E Y I NG E I N CON T E X T 28 devil and his “array” of servants and “bad souls” are led into complexly constructed stage mansions of hell-mouths, as a punishment for their malicious behavior. It is arguable, however, whether “seeing in miraclis pleyinge that the devil . ” is used in the ToMP literally, that is, indeed referring to what spectators really saw in such performances, or whether it is used in a metaphorical way, and not referring specifically to dramatic scenes in which the devil is enacted.