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  • 1
    Buch
    Buch
    Roma :Bulzoni,
    UID:
    almafu_BV004291720
    Umfang: 401 S.
    Serie: Biblioteca teatrale 39
    Sprache: Italienisch
    Fachgebiete: Komparatistik. Außereuropäische Sprachen/Literaturen , Altertumswissenschaften
    RVK:
    RVK:
    Schlagwort(e): Osterspiel ; Mittellatein ; Geistliches Drama ; Mittellatein ; Geistliches Drama
    Mehr zum Autor: Drumbl, Johann 1943-
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 2
    Online-Ressource
    Online-Ressource
    [Middleton, Wisconsin] :A-R Editions, Inc.,
    UID:
    almafu_9959641249402883
    Umfang: 1 online resource (1 score (1 page))
    Serie: Recent researches in the music of the Middle Ages and early Renaissance ; vol. 31
    Anmerkung: Title from resource description page (viewed August 31, 2020). , Written in 1100. , Pages also numbered as part of larger sequence : page 28. , Original language in Latin.
    Sprache: Latein
    Schlagwort(e): Masses. ; Chants. ; Introits (Music) ; Tropes (Music) ; Masses. ; Chants. ; Introits (Music) ; Tropes (Music)
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 3
    Buch
    Buch
    Guelph :Alive Press,
    UID:
    almafu_BV026552829
    Umfang: [49] S. : , zahlr. Ill.
    ISBN: 0-919568-09-2
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 4
    UID:
    almafu_BV026273055
    Umfang: V, 318 Bl.
    Anmerkung: Kopie, erschienen im Verl. Univ. Microfilms Internat., Ann Arbor, Mich. , Arizona State Univ., Diss., 1976
    Sprache: Englisch
    Schlagwort(e): Visitatio sepulchri ; Textgeschichte ; Hochschulschrift
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 5
    Online-Ressource
    Online-Ressource
    [Middleton, Wisconsin] :A-R Editions, Inc.,
    UID:
    almafu_9959642187502883
    Umfang: 1 online resource (1 score (4 pages))
    Serie: Recent researches in the music of the Middle Ages and early Renaissance ; vol. 17-18
    Anmerkung: Easter Sunday. , Title from resource description page (viewed August 31, 2020). , Written in 1125. , Pages also numbered as part of larger sequence: 169-172. , Original language in Latin.
    Sprache: Latein
    Schlagwort(e): Songs. ; Tropes (Music) ; Sacred music. ; Chants. ; Songs. ; Tropes (Music) ; Sacred music. ; Chants.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 6
    Online-Ressource
    Online-Ressource
    [Erscheinungsort nicht ermittelbar] : Johns Hopkins University Press
    UID:
    gbv_1832325881
    Umfang: 1 Online-Ressource (349 p.)
    ISBN: 9781421430478
    Inhalt: Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis-the earliest of all medieval dramas-is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays
    Anmerkung: English
    Sprache: Unbestimmte Sprache
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 7
    Online-Ressource
    Online-Ressource
    Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften
    UID:
    almahu_9948664794402882
    Umfang: 1 online resource (226 p.) , 13 ill.
    Ausgabe: 1st, New ed.
    ISBN: 9783653071276
    Serie: Interdisciplinary Studies in Performance 8
    Inhalt: This book presents a new approach to early English theatre by exposing a genuine relationship between monastic performances and theatricality. It argues that modern theatre was reinvented in Anglo-Saxon monasteries by monks who were required to transform themselves by disciplining their bodies and performing complex religious acts. After extensively surveying the monastic and liturgical sources of theatre the author reconstructs the XII-century staging of the Anglo-Norman «Ordo representacionis Ade» and demonstrates the fundamental incongruity between the ancient and Christian performativity. On a more personal note he concludes with comments on references to the monastic rule in «Performer», a programmatic text by Jerzy Grotowski.
    Inhalt: «[...] dem Autor [ist] ein inspirierendes, reich bebildertes Buch gelungen, dessen Übersetzung sich gelohnt hat und das von einem breiten Wissen des Verfassers zeugt.» (Jörg Sonntag, H-Soz-Kult Nov. 2017)〈BR BR〉 Vollständige Rezension hier lesen
    Anmerkung: Caedmon – Monk as performer – Anglo-Saxon liturgy – Regularis Concordia – Monasticism – Body performances – Church and theatre – Medieval theatre – Transubstantiation – Mass – Christian performing arts – Performativity – Quem quaeritis – Ordo Representacionis Ade – Jerzy Grotowski
    Weitere Ausg.: ISBN 9783631679128
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 8
    Online-Ressource
    Online-Ressource
    Toronto, Ontario :University of Toronto Press,
    UID:
    almafu_9960800509302883
    Umfang: 1 online resource (252 pages) : , illustrations.
    ISBN: 1-4875-3887-1 , 1-4875-3886-3
    Inhalt: "Often viewed as theologically conservative, many theatrical works of late medieval and early Tudor England nevertheless exploited the performative nature of drama to flirt with unsanctioned expressions of desire, allowing queer identities and themes to emerge. Early plays faced vexing challenges in depicting sexuality, but modes of queerness, including queer scopophilia, queer dialogue, queer characters, and queer performances, fractured prevailing restraints. Many of these plays were produced within male homosocial environments, and thus homosociality served as a narrative precondition of their storylines. Building from these foundations, On the Queerness of Early English Drama investigates occluded depictions of sexuality in late medieval and early Tudor dramas. Tison Pugh explores a range of topics, including the unstable genders of the York Corpus Christi Plays, the morally instructive humour of excremental allegory in Mankind, the confused relationship of sodomy and chastity in John Bale's historical interludes, and the camp artifice and queer carnival of Sir David Lyndsay's Ane Satyre of the Thrie Estaitis. Pugh concludes with Terrence McNally's Corpus Christi, pondering the afterlife of medieval drama and its continued utility in probing cultural constructions of gender and sexuality."--
    Anmerkung: Introduction: Quem quaeritis? Queerness in Early English Drama -- Part One: Queer Theories and Themes of Early English Drama : A Subjunctive Theory of Dramatic Queerness -- Themes of Friendship and Sodomy -- Part Two: Queer Readings of Early English Drama : Performative Typology, Jewish Genders, and Jesus’s Queer Romance in the York Corpus Christi Plays -- Excremental Desire, Queer Allegory, and the Disidentified Audience of Mankind -- Sodomy, Chastity, and Queer Historiography in John Bale’s Interludes -- Camp and the Hermaphroditic Gaze in Sir David Lyndsay’s Ane Satyre of the Thrie Estaitis -- Conclusion: Terrence McNally’s Corpus Christi and the Queer Legacy of Early English Drama.
    Weitere Ausg.: ISBN 1-4875-0874-3
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 9
    Online-Ressource
    Online-Ressource
    Johns Hopkins University Press | Baltimore, : Johns Hopkins Press
    UID:
    edoccha_9959332523902883
    Umfang: 1 online resource (xiii, 328 p.) , illus.
    ISBN: 1-4214-3046-0
    Inhalt: Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.
    Anmerkung: English
    Weitere Ausg.: ISBN 1-4214-3087-8
    Weitere Ausg.: ISBN 1-4214-3047-9
    Sprache: Englisch
    Schlagwort(e): Electronic books.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 10
    Online-Ressource
    Online-Ressource
    Johns Hopkins University Press | Baltimore, : Johns Hopkins Press
    UID:
    almahu_9949331823002882
    Umfang: 1 online resource (xiii, 328 p.) , illus.
    ISBN: 1-4214-3046-0
    Inhalt: Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.
    Anmerkung: English
    Weitere Ausg.: ISBN 1-4214-3087-8
    Weitere Ausg.: ISBN 1-4214-3047-9
    Sprache: Englisch
    Schlagwort(e): Electronic books.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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