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  • 1
    Book
    Book
    Quem quaeritis : teatro sacro dell'alto medioevo (1981)
    Roma :Bulzoni,
    Details
    UID:
    almafu_BV004291720
    Format: 401 S.
    Series Statement: Biblioteca teatrale 39
    Language: Italian
    Subjects: Comparative Studies. Non-European Languages/Literatures , Ancient Studies
    RVK:
    EC 7632
    RVK:
    FU 3450
    Keywords: Osterspiel ; Mittellatein ; Geistliches Drama ; Mittellatein ; Geistliches Drama
    Author information: Drumbl, Johann 1943-
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  • 2
    Online Resource
    Online Resource
    Resurrexi : hora est surgite : quem quaeritis. (1996)
    [Middleton, Wisconsin] :A-R Editions, Inc.,
    Details
    UID:
    edocfu_9959641249402883
    Format: 1 online resource (1 score (1 page))
    Series Statement: Recent researches in the music of the Middle Ages and early Renaissance ; vol. 31
    Note: 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.
    Language: Latin
    Keywords: Masses. ; Chants. ; Introits (Music) ; Tropes (Music)
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    Online Resource
    FU Berlin
  • 3
    Book
    Book
    Quem quaeritis / (1971)
    Guelph :Alive Press,
    Details
    UID:
    almafu_BV026552829
    Format: [49] S. : , zahlr. Ill.
    ISBN: 0-919568-09-2
    Language: English
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  • 4
    Book
    Book
    The quem quaeritis : its context as liturgical drama (1976)
    Details
    UID:
    almafu_BV026273055
    Format: V, 318 Bl.
    Note: Kopie, erschienen im Verl. Univ. Microfilms Internat., Ann Arbor, Mich. , Arizona State Univ., Diss., 1976
    Language: English
    Keywords: Visitatio sepulchri ; Textgeschichte ; Hochschulschrift
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  • 5
    Online Resource
    Online Resource
    Versus : Quem quaeritis in sepulchro. (1994)
    [Middleton, Wisconsin] :A-R Editions, Inc.,
    Details
    UID:
    edocfu_9959642187502883
    Format: 1 online resource (1 score (4 pages))
    Series Statement: Recent researches in the music of the Middle Ages and early Renaissance ; vol. 17-18
    Note: 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.
    Language: Latin
    Keywords: Songs. ; Tropes (Music) ; Sacred music. ; Chants.
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    Online Resource
    FU Berlin
  • 6
    Online Resource
    Online Resource
    Christian Rite and Christian Drama in the Middle Ages : Essays in the Origin and Early History of Modern Drama (2019)
    [Erscheinungsort nicht ermittelbar] : Johns Hopkins University Press
    Details
    UID:
    gbv_1832325881
    Format: 1 Online-Ressource (349 p.)
    ISBN: 9781421430478
    Content: 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
    Note: English
    Language: Undetermined
    URL: kostenfrei
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    Stabi Berlin
    UB Potsdam
  • 7
    Online Resource
    Online Resource
    The Second Birth of Theatre : Performances of Anglo-Saxon Monks (2017)
    Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften
    Details
    UID:
    almahu_9948664794402882
    Format: 1 online resource (226 p.) , 13 ill.
    Edition: 1st, New ed.
    ISBN: 9783653071276
    Series Statement: Interdisciplinary Studies in Performance 8
    Content: 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.
    Content: «[...] 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
    Note: 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
    Additional Edition: ISBN 9783631679128
    Language: English
    DOI: 10.3726/978-3-653-07127-6
    URL: https://www.peterlang.com/view/product/26250?format=EPDF
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    Open Access Request
    HU Berlin
  • 8
    Online Resource
    Online Resource
    On the queerness of early english drama : sex in the subjunctive (2021)
    Toronto, Ontario :University of Toronto Press,
    Details
    UID:
    edocfu_9960800509302883
    Format: 1 online resource (252 pages) : , illustrations.
    ISBN: 1-4875-3887-1 , 1-4875-3886-3
    Content: "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."--
    Note: 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.
    Additional Edition: ISBN 1-4875-0874-3
    Language: English
    DOI: 10.3138/9781487538866
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  • 9
    Online Resource
    Online Resource
    Christian Rite and Christian Drama in the Middle Ages : Essays in the Origin and Early History of Modern Drama (2019)
    Johns Hopkins University Press | Baltimore, : Johns Hopkins Press
    Details
    UID:
    edoccha_9959332523902883
    Format: 1 online resource (xiii, 328 p.) , illus.
    ISBN: 1-4214-3046-0
    Content: 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.
    Note: English
    Additional Edition: ISBN 1-4214-3087-8
    Additional Edition: ISBN 1-4214-3047-9
    Language: English
    Keywords: Electronic books.
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    Charité
  • 10
    Online Resource
    Online Resource
    Christian Rite and Christian Drama in the Middle Ages : Essays in the Origin and Early History of Modern Drama (2019)
    Johns Hopkins University Press | Baltimore, : Johns Hopkins Press
    Details
    UID:
    almahu_9949331823002882
    Format: 1 online resource (xiii, 328 p.) , illus.
    ISBN: 1-4214-3046-0
    Content: 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.
    Note: English
    Additional Edition: ISBN 1-4214-3087-8
    Additional Edition: ISBN 1-4214-3047-9
    Language: English
    Keywords: Electronic books.
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    HU Berlin
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