No quantity concerning the spectacles and public performances of early smooth England may perhaps faux to regard comprehensively a physique of fabrics so conspicuously titanic. instead of efforts to survey the territory, those essays are most sensible understood within the unique experience of the time period as “essays”—as trials, makes an attempt, experiments to open alternative routes of knowing that huge corpus of puzzle performs, civic pageants, court docket masques dramas that represent its topic. The e-book crosses conventional interval traces, together with reviews of Medieval in addition to Renaissance entertainments. once again, the essays should not equipped in keeping with a unmarried severe or historic technique. They hire an eclectic diversity of interpretive practices, reflecting the range of interpretive techniques now present within the field.
Contributors comprise: Tiffany J. Alkan, Robert W. Barrett, Jr., Sarah Beckwith, Tom Bishop, Peter Cockett, Richard okay. Emmerson, Peter Holland, Nora Johnson, Richard C. McCoy, Lauren Shohet, and Robert E. Stillman.
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Additional resources for Spectacle and Public Performance in the Late Middle Ages and the Renaissance (Studies in Medieval and Reformation Traditions, Volume 133)
She will be of the lineage of Dan and will conceive a son. He will call himself Antichrist and make the people love him through gifts, through fraudulent preaching, and through the resuscitation of the dead, whom he will bring back to life; even the treasures of the world will be, in truth, completely at his disposal. (lines 207–23) The goal is to seduce a Jewish prostitute living in Babylon, the play’s dramatic version of the apocalyptic Whore of Babylon (Rev. 17) and the way it imaginatively merges two apparently unrelated strands of exegesis concerning Antichrist’s origins—that he will be born of the 14 For the inﬂuence of Adso’s Libellus see Emmerson, Antichrist, 74–107.
For a reproduction, see Emmerson, Antichrist, ﬁg. , The Apocalypse and the Shape of Things to Come (London: British Museum Press, 1999), 93–94, cat. no. 22; and Wright, Art and Antichrist, 170–71 and illus. 47, 48. antichrist on page and stage in the later middle ages 19 The Jour du Jugement separates the original preaching of Enoch and Elijah from the representation of their death, treating their sermon as an introductory warning before staging Antichrist’s own preaching, miracles, and persecutions.
P. 266. 7 36 peter cockett its audience? And how did it ensure the audience’s response to the Antichrist’s miracles was distinct from its response to the prophets’ presentation of the Eucharist? Directing The Coming of Antichrist oﬀered me the chance to explore these questions in practice and from the point of view of the theatrical producer. Richard K Emmerson’s essay, “Contextualizing Performance: The Reception of the Chester Antichrist,” explores possible changes in the reception of the play over the course of its history.
Spectacle and Public Performance in the Late Middle Ages and the Renaissance (Studies in Medieval and Reformation Traditions, Volume 133)