Functions of Medieval English Stage Directions

<p>When we speak of theatre, we think we know what a stage direction is: we tend to think of it as an authorial requirement, devised to be complementary to the spoken text and directed at those who put on a play as to what, when, where, how or why a moment, action or its staging should be completed. This is the general understanding to condition a theatrical convention known as the 'stage direction'. As such, we recognise that the stage direction is directed towards actors, directors, designers, and any others who have a part to play in the practical realisation of the play. And perhaps we think that this has always been the case. However, the term 'stage direction' is not a medieval one, nor does an English medieval equivalent term exist to codify the functions contained in extraneous manuscript notes, requirements, directions or records. The medieval English stage direction does not generally function in this way: it mainly exists as an observed record of earlier performance. There are examples of other functions, but even they are not directed at players or those involved in creating performance. </p><p>More than 2000 stage directions from 40 or so plays and cycles have been included in the catalogue of the volume, and over 400 of those have been selected for analysis throughout the work.</p><p>The purpose of this research is to examine the theatrical functions of medieval English stage directions as records of earlier performance. Examples of such functions are largely taken from outdoor scriptural plays. This book will be of great interest to students and scholars in theatre, medieval history and literature.</p> <p><em>List of Figures </em></p><p><em>Acknowledgements</em></p><p><em>Preface</em></p><p>Prelude</p><p>Chapter 1: <i>Observers, Options and Beneficiaries of Stage Directions</i> </p><p>Chapter 2: <i>Didacticism</i> </p><p>Chapter 3: <i>The Nature of Pretence</i></p><p>Chapter 4: <i>Biblical and Other Narrative Sources</i></p><p>Chapter 5: <i>Spatial Practices</i></p><p>Chapter 6: <i>Characteristics of Playing </i></p><p>Chapter 7: <i>Playing Alone</i></p><p>Chapter 8: <i>Ornaments and Effects</i></p><p>Postlude</p><p>Catalogue</p><p>A Note by Michael Spence about Latin Translations </p><p>List of Plays and their Stage Directions</p><p>Calisto and Melebea </p><p>The Castle of Perseverance </p><p>The Chester Mystery Plays </p><p>The Chester Appendix </p><p>Christ's Burial </p><p>Christ's Resurrection </p><p>Conversion of St. Paul </p><p>Cornish Creacion of the World </p><p>Cornish Origo Mundi </p><p>Cornish Passio Domini </p><p>Cornish Resurrexio Domini </p><p>Cornish St. Meriasek </p><p>Cornish St. Kea </p><p>Coventry Shearmen and Taylors' Pageant </p><p>Coventry Weavers' Pageant </p><p>Fulgens and Lucrece </p><p>Impacyente Pouerte </p><p>Killing of the Children </p><p>King Johan </p><p>Magnyfycence </p><p>Mankind </p><p>Mary Magdalen </p><p>N.town Plays </p><p>Nature </p><p>Nature of the Four Elements </p><p>The Newcastle Play </p><p>Nice Wanton </p><p>The Norwich Grocers' Play </p><p>The Play of the Sacrament [Croxton] </p><p>Play of the Weather (1) </p><p>Play of the Weather (2) </p><p>The Pride of Life </p><p>Terens in Englysh </p><p>Thersytes </p><p>Three Laws </p><p>The Towneley Plays </p><p>Wealth and Health </p><p>Wisdom </p><p>Wit and Science </p><p>The York Play </p><p>Bibliography </p><p>Index </p>