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- W2230012550 abstract "Years from now when an archeologist like Sir Arthur Evans discovers Boise, Idaho, she will find a great cathedral, with a gallery and with side chapels along the nave and the choir. At the east end, the holiest part of the great cathedral, she will find the largest and most glorious chapel of all dedicated to the goddess Bon Marche. Polymer statues of the goddess adorn every pedestal, and at their feet, gifts of clothing, the tribute of the people. There will be no need to provide evidence that this is a religious structure. Its cruciform design, the presence of the icons, the lavish piles of rich clothing all fit with everything known of the religious practices of western European and North American society. Yet we, who live in the decade when this great structure was built, would call it a shopping mall. The archeologist may be right when she suggests that shopping is a part of our religion in the twentieth century, but our view of the situation is very different. Our motivation for going to shopping malls, and our way of thinking about them and talking about them and using them is entirely different from what evidence in the future may conclusively prove. Our situation with regard to medieval English drama is not unlike this. We have a certain amount of evidence, and it seems to point a certain way, but increasingly scholars have recognized their inability to ascertain what theatre was like in fifteenth-century England. Combined with this uncertainty principle, however, has come a new thirst for historical authenticity in performances of medieval drama. As we have desired more and more to capture and reproduce the essence of medieval English drama, we have been forced to admit the impossibility of achieving that experience. Given this paradoxical combination of factors, scholars have adopted a number of approaches. William Tydeman's English Medieval Theatre 1400-1500 exemplifies an increasingly respectable approach: honest acknowledgment of a lack of irrefutable information combined with willingness to speculate based on what is known. But it is still possible to write with a minimum of speculation, as Martin Stevens demonstrates in Four Middle English Mystery Cycles, by refusing to deal with the performance question and instead addressing the cycles strictly as works of literature. Alternatively, by presenting a history of medieval play performance from the Middle Ages until today, John R. Elliott, Jr., in Playing God: Medieval Mysteries on the Modern Stage, shows that it is possible to present verifiable information about the plays while still considering actual production. These three books represent a range of responses to the problem of authenticity in fifteenth-century English drama." @default.
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- W2230012550 date "1990-01-01" @default.
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- W2230012550 title "Playing God: Authenticity in Fifteenth-Century English Drama" @default.
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- W2230012550 doi "https://doi.org/10.1353/rmr.1990.0042" @default.
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