In Shakespeare's Medieval Craft, Kurt A. Schreyer explores the relationship between Shakespeareas plays and a tradition of late medieval English biblical drama known as mystery plays. Scholars of English theater have long debated Shakespeareas connection to the mystery play tradition, but Schreyer provides new perspective on the subject by focusing on the Chester Banns, a sixteenth-century proclamation announcing the annual performance of that cityas cycle of mystery plays. Through close study of the Banns, Schreyer demonstrates the central importance of medieval stage objectsaas vital and direct agents and not merely as precursorsato the Shakespearean stage. As Schreyer shows, the Chester Banns serve as a paradigm for how Shakespeareas theater might have reflected on and incorporated the mystery play tradition, yet distinguished itself from it. For instance, he demonstrates that certain material features of Shakespeareas stageaincluding the assas head of A Midsummer Nightas Dream, the theatrical space of Purgatory in Hamlet, and the knocking at the gate in the Porter scene of Macbethawere in fact remnants of the earlier mysteries transformed to meet the exigencies of the commercial London playhouses. Schreyer argues that the ongoing agency of supposedly superseded theatrical objects and practices reveal how the mystery plays shaped dramatic production long after their demise. At the same time, these medieval traditions help to reposition Shakespeare as more than a writer of plays; he was a play-wright, a dramatic artisan who forged new theatrical works by fitting poetry to the material remnants of an older dramatic tradition.The York Doom is less explicit when it comes to Purgatory, but the same economy of good works, contrition, and ... such as a hovering angel whose outstretched arms are shown in the act of rescuing purged souls while, in a juxtaposed panel, anbsp;...
|Title||:||Shakespeare’s Medieval Craft|
|Author||:||Kurt A. Schreyer|
|Publisher||:||Cornell University Press - 2014-07-30|