York Plays


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York Plays:

see miracle playmiracle play
or mystery play,
form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th cent., reaching its height in the 15th cent.
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References in periodicals archive ?
(8) Beadle, The York Plays (Oxford, 2009, 2013 for 2011), 2.224.
For example, York Plays Volume II shows that the clerical author or authors of the Shearmen's pageant, The Road to Calvary, injected layers of patristic and Thomist meaning into Jesus's seamless coat as a stage object, but centrally emphasised a eucharistic significance appropriate to the production context of Corpus Christi (p.
From its trio of apposite epigraphs to its illustrations from stained glassed windows in York's Minister to its hundreds of scholarly endnotes, her study may be said to represent the state of the art in New York Play criticism.
The use of the rack, as in cases over which Thomas More himself presided while he was Lord Chancellor, (44) is perhaps relevant to one manner of crucifixion suggested in Nicholas Love's English adaptation of the Meditations on the Life of Christ and imaginatively dramatized in the York plays. (45) The holes in the cross are bored too far apart, and hence the executioners tie ropes to Christ's arms and legs in order to "rugge hym doune"--that is, to stretch his body to fit.
Most importantly the editors suggest that the Towneley manuscript was copied from 'an exemplar, or from exemplars, representing a variety of source texts', including the York Plays themselves, which were the main source of at least five of the pageants in the Wakefield cycle.
In the last revision of the York plays, about 14 plays (mainly those concerning Christ's Passion) were redacted into alliterative verse.
For example, especially in their consideration of the York Plays, the authors did not take into account the work done on pastoral didacticism in the province of York by Jonathan Hughes and others.
Awareness of and reaction to these realities can be seen in the very terminology with which the York plays describe the contrast between urban and nonurban.
For example, the Ordo Paginarum and the Mercers' Indenture frame the anthology's selection of York plays, thereby emphasizing their connection to their city of origin and the physical conditions attendant thereto.
While acknowledging that plays could have many possible meanings, her central chapters focus on the ways the York plays might have exposed the collusion of secular and ecclesiastical power to medieval audiences.
Her map was reproduced in Richard Beadle (ed), The York Plays (London, 1982), 34, and more recently it appeared, without the station numbers, in Richard Beadle (ed), The Cambridge Companion to Medieval English Theatre (Cambridge, 1994).
David Palliser was the first, to my knowledge, to draw attention to the error in dating in his review of Richard Beadle, The York Plays, in Yorkshire Archaeological Journal 56 (1984), 169.

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