Innovation in the Prologues to Giovan Maria Cecchi's Religious Plays

Italica ◽  
1986 ◽  
Vol 63 (2) ◽  
pp. 123
Author(s):  
Konrad Eisenbichler
Keyword(s):  
Religious Plays

The Social and Religious Plays of Strindberg by John Ward (review)

Modern Drama ◽  
1983 ◽  
Vol 26 (2) ◽  
pp. 243-245
Author(s):  
Charles Leland
Keyword(s):  
The Social ◽  
Religious Plays

XXII.—The Palatine Passion and the Development of the Passion Play

PMLA ◽  
1920 ◽  
Vol 35 (4) ◽  
pp. 464-483
Author(s):  
Grace Frank
Keyword(s):  
Fourteenth Century ◽  
General Development ◽  
Medieval Drama ◽  
Passion Plays ◽  
Passion Play ◽  
The Common ◽  
Religious Plays

The similarities of phrase, arrangement, and general development that are to be observed in so many mediæval religious plays in which divergences are nevertheless equally apparent have been variously explained as due to the common scriptural, liturgical, theological, or vernacular sources of these plays. Nor has the possibility that one play or cycle may have borrowed directly from another been overlooked. The paucity of early texts, however, contrasted with the relatively more abundant remains of the later highly developed plays and cycles, has tended to obscure the whole problem. With the recent discovery and publication of the oldest text of a complete French Passion play that has survived—the manuscript is dated from the beginning of the fourteenth century by Dr. Christ— new data has become available, and it can be shown, I think, from the relations existing between this so-called Palatine Passion and other French Passion plays that many of the puzzling resemblances in the medieval drama arise from the fact that the same texts often served as the basis for the representations given in different communities. These texts were at various times subjected to revision, and it is the successive alterations made upon them which have in many eases concealed their original connections.

The Nuremberg Schembart Manuscripts

PMLA ◽  
1929 ◽  
Vol 44 (3) ◽  
pp. 863-878 ◽  
Author(s):  
Samuel L. Sumberg
Keyword(s):  
German Literature ◽  
Detailed Examination ◽  
German Drama ◽  
Actual Content ◽  
History Of ◽  
Religious Plays

The chief difficulty in tracing the origin of the secular drama in Germany is the lack of texts to prove the performance of other than religious plays. Nevertheless a sufficient number of secular texts have been brought to light to contradict the old belief that expansion of the comic scenes in the religious dramas resulted in the early Carnival play. M. J. Rudwin, in his notable study, proved the Carnival play to have been “the natural outgrowth of the Carnival customs themselves.” Modern historians of literature agree with him on this point but discuss the development of the Fastnachtspiel in Nuremberg no further than to declare its origin to have been in the most important masque of the time, the Schembartlauf. Yet in the recent special work on the history of the German drama, Das deutsche Drama, F. Michael disclaims any immediate connection between the Schembartlauf and the plays. Up to the present no detailed examination of the manuscripts in which the Schembartlauf was recorded, the so-called Schembartbücher, has appeared. It will be of advantage to study the actual content of the manuscripts in order to estimate their importance for the history of German literature. Conclusions may then be drawn as to the possible relation of the Schembartlauf to the Fastnachtspiele.

The Social and Religious Plays of Strindberg

1982 ◽  
Vol 77 (1) ◽  
pp. 249
Author(s):  
David Thomas ◽  
John Ward
Keyword(s):  
The Social ◽  
Religious Plays

Theatre

2017 ◽  
Author(s):  
Linzy Brady ◽  
Jolyon Mitchell
Keyword(s):  
Nineteenth Century ◽  
Public Spaces ◽  
Leo Tolstoy ◽  
Henrik Ibsen ◽  
George Bernard Shaw ◽  
Silent Films ◽  
The Creation ◽  
Religious Plays ◽  
Bernard Shaw ◽  
Christian Beliefs

How did the relation between Christianity and drama evolve during the long nineteenth century? How were Christian beliefs represented, promoted, and interrogated through drama? What part did Christianity play in the changing kinds, spaces, and genres of theatre? This chapter analyses the creation, production, and reception of a range of dramatic forms, including melodramas, musicals, ‘classics’, comedies, and tragedies, as well as explicitly religious, and later in the nineteenth century, cinematic dramas. Plays by George Bernard Shaw, Leo Tolstoy, and Henrik Ibsen are scrutinized alongside early silent films and the evolving passion and religious plays tradition. The chapter teases out a number of underlying tensions relating to the place of Christianity within popular and respectable theatre, romantic and realistic drama, and theatrical and screen drama. The chapter highlights how Christian beliefs were creatively used by playwrights, actors, and theatre-goers, in theatrical, domestic, and public spaces.

The Social and Religious Plays of Strindberg by John Ward

1981 ◽  
Vol 15 (2) ◽  
pp. 173-175
Author(s):  
Michael Kaufman
Keyword(s):  
The Social ◽  
Religious Plays

Theatre and Conversion in Early Modern Zürich, Berne and Lucerne

2021 ◽  
pp. 140-153
Author(s):  
Elke Huwiler
Keyword(s):  
Early Modern ◽  
The Reformation ◽  
Religious Indoctrination ◽  
Religious Plays

The limits of theatre as a medium for religious indoctrination became an object of exploration, debate, and censorship in the Swiss cities of Zürich, Berne and Lucerne. This chapter addresses how the civil and religious authorities of these cities struggled to control not just the content, but the audience’s interpretations of religious plays in the context of the Reformation.

Sign in / Sign up

Export Citation Format

Share Document