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This is a thoroughly revised edition of Glynne Wickham's important history of the development of dramatic art in Christian Europe. Professor Wickham surveys the foundations on which this dramatic art was built: the architecture, costumes and ceremonial of the imperial court at Byzantium, the liturgies of countires in the Eastern and Western Empires and the triumph of the R This is a thoroughly revised edition of Glynne Wickham's important history of the development of dramatic art in Christian Europe. Professor Wickham surveys the foundations on which this dramatic art was built: the architecture, costumes and ceremonial of the imperial court at Byzantium, the liturgies of countires in the Eastern and Western Empires and the triumph of the Roman rite and the Romanesque style in Western art. Within this context Professor Wickham describes three major influences upon the drama: religion, recreation and commerce. The first produced the liturgical music drama rooted in praise of Christ the King, vernacular Corpus Christi drama, Saint Plays and Moralities centred on the humanity of Christ. The second gave rise to the secular theatres of social recreation based on the games and dances of village communities ad the more sophisticated sex and war games of the nobility. The section on commerce shows how the development of the drama was intimately related to questions of funding and management which led, during the sixteenth century, to the substitution of a professional for an amateur theatre, and to a growing emphasis on stage spectacle. For this third edition the author has added a substantial section on monastic reform and its effect on Biblical translation and the use of allegory; a final chapter charts the transition in different European countries from this medieval Gothic theatre to the neoclassical methods of play construction and representation which flourished for the next two hundred years. The book gorges a coherent pattern through a very large and complicated subject. It is an excellent introduction to medieval theatre for undergraduates and to the growing number of theatregoers who enjoy contemporary revivals of medieval plays. A large plate section gives a pictorial version of the story, using photographs of contemporary manuscript illuminations, mosaics, frescoes, paintings and sculptures.


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This is a thoroughly revised edition of Glynne Wickham's important history of the development of dramatic art in Christian Europe. Professor Wickham surveys the foundations on which this dramatic art was built: the architecture, costumes and ceremonial of the imperial court at Byzantium, the liturgies of countires in the Eastern and Western Empires and the triumph of the R This is a thoroughly revised edition of Glynne Wickham's important history of the development of dramatic art in Christian Europe. Professor Wickham surveys the foundations on which this dramatic art was built: the architecture, costumes and ceremonial of the imperial court at Byzantium, the liturgies of countires in the Eastern and Western Empires and the triumph of the Roman rite and the Romanesque style in Western art. Within this context Professor Wickham describes three major influences upon the drama: religion, recreation and commerce. The first produced the liturgical music drama rooted in praise of Christ the King, vernacular Corpus Christi drama, Saint Plays and Moralities centred on the humanity of Christ. The second gave rise to the secular theatres of social recreation based on the games and dances of village communities ad the more sophisticated sex and war games of the nobility. The section on commerce shows how the development of the drama was intimately related to questions of funding and management which led, during the sixteenth century, to the substitution of a professional for an amateur theatre, and to a growing emphasis on stage spectacle. For this third edition the author has added a substantial section on monastic reform and its effect on Biblical translation and the use of allegory; a final chapter charts the transition in different European countries from this medieval Gothic theatre to the neoclassical methods of play construction and representation which flourished for the next two hundred years. The book gorges a coherent pattern through a very large and complicated subject. It is an excellent introduction to medieval theatre for undergraduates and to the growing number of theatregoers who enjoy contemporary revivals of medieval plays. A large plate section gives a pictorial version of the story, using photographs of contemporary manuscript illuminations, mosaics, frescoes, paintings and sculptures.

32 review for The Medieval Theatre

  1. 5 out of 5

    Thom Dunn

    Published in 1974 by Weidenfeld, picked up by Cambridge UP. Certainly the best survey before Bevington and may have materials Bev. lacks. A must-have for students of Medieval Drama.

  2. 4 out of 5

    James

  3. 5 out of 5

    James

  4. 5 out of 5

    John Ervin

  5. 4 out of 5

    Alice Moretti

  6. 5 out of 5

    Mishaal Omer

  7. 4 out of 5

    Luis Constante

  8. 4 out of 5

    Mark Woodland

  9. 5 out of 5

    Carys

  10. 4 out of 5

    Sydney Higgins

  11. 5 out of 5

    Philip Rowe

  12. 4 out of 5

    Caro

  13. 4 out of 5

    Ignacio Gallup-Diaz

  14. 4 out of 5

    Elena Rubio

  15. 4 out of 5

    Greg

  16. 5 out of 5

    Emma

  17. 5 out of 5

    Dasha

  18. 5 out of 5

    Erin Vandenberg

  19. 4 out of 5

    Daniel

  20. 4 out of 5

    Nico

  21. 4 out of 5

    Maria Ferdinand

  22. 5 out of 5

    Geraldine

  23. 5 out of 5

    Nicole Sanchez

  24. 4 out of 5

    Asteroeis

  25. 5 out of 5

    Robert

  26. 4 out of 5

    Derek Lee

  27. 5 out of 5

    Naomi

  28. 4 out of 5

    Irma Mayorga

  29. 4 out of 5

    Rodrigo Frota

  30. 4 out of 5

    Frances

  31. 4 out of 5

    Zheng

  32. 4 out of 5

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