The medival staging of the Chester play can be really fun with costuming and staging the production. The fun comes out of the history, what influence these plays to be put on and why? How were these plays in the past produce and such. We are so reliant on technology these days, we forget the plays themselves are the art. Example spiderman the musical:
See what happens when spectacles takes over a simple original idea. Not going to lie, reviews for this show also bombed. But take the simple morals of the story and put it in front of people and not force them, they will have fun. So this was fun. The knowledge learned and the application to history was extraordinaire.
Remember how I said God needs a voice and people will take his message. Well, I invite you to watch the bottome clip:
GOD
Thank you
Tuesday, December 7, 2010
Costuming and Make-up for Chester
The final pieces are being now put together. How would one want to follow the story of Adam and Eve. In the beginning were they clothe, were the angels clothe, who was clothe, and why? This is a diffilcult decision, but I find
So many artist see the beginning of human as, well, naked. Do we want to push the envelope of having naked people trouting around. Heck yes. Why not understand the human body as it is. Why cover up in the beginning. Now, the audience may react differently to people being naked, but remember we as thespians have to do our job where the naked doesn't overshadow the show. Here is a note for casting. Find curves in the women and flaws in the boys. Now I'm not saying go find these specific bodies, so do not cast atrractive people. People will find reasons to look at the naked people if the attraction level is there. Look at the art what makes the art beautiful if the people are naked. It is how the body is posed.
For more Chester Plays
AH! I forgot to explain this part for my people. So casting would be small for the Chester Play 2, however, remember there are many plays to the Chester Cycle. If you would like an exmaple of how many plays go to the library and check out this book
Lumiansky, R.M. The Chester Mystery Cycle. London: Oxford University Press, 1974. Print.
The BOOK is an edited version of the chester plays. This relates with the history of the plays because even though we are doing an "excerpt" from the cycle, guilds would look for many people to act in these plays. Hence, why the production would be a hit and miss with the audience. The book covers the other cycles of the plays with explanation. So highly reccommended if play 2 doesn't work for you.
Lumiansky, R.M. The Chester Mystery Cycle. London: Oxford University Press, 1974. Print.
The BOOK is an edited version of the chester plays. This relates with the history of the plays because even though we are doing an "excerpt" from the cycle, guilds would look for many people to act in these plays. Hence, why the production would be a hit and miss with the audience. The book covers the other cycles of the plays with explanation. So highly reccommended if play 2 doesn't work for you.
Actor and Acting for the Chester Play 2
So let's face it, theatre was not the same in the Middle Ages compared to today. We have schools and university dedicated to acting alone. The Chester plays performed in the middle ages were controlled by the guilds, correct? Does this mean all the acting was bad? No. It means, the acting was up to par yet. Lucky for us, too bad for the Middle Ages.
This relates with history because it is typical for people not wanting to see god today. Back then, it might have been different because of the sterotypes of people wanting to see a large figure command such small people. In this case, we will follow a little bit of the sterotypes of the play. Adam a man. Eve a Woman. god equals Voice. The angels could be casted either or. I would like to see the devil have a form not of a serpent though, but a serpent like style. Cunning, witty, ect. It may follow the trend of Hollywood today, then again why would hollywood think this way, hmmmmmmmm?
In tune with what the production needs, the history of the times won't really influence the casting. The middle ages were the beginning, crafting the plays. Some actors would hit the audience with praise reactions, others did not do so well. So what is left for casting? Well, I wouldn't want to see God for instance. I've said this before, but god to the production should not be a form. The voice should raise awareness that if no form is there, than god must be surround all.
This relates with history because it is typical for people not wanting to see god today. Back then, it might have been different because of the sterotypes of people wanting to see a large figure command such small people. In this case, we will follow a little bit of the sterotypes of the play. Adam a man. Eve a Woman. god equals Voice. The angels could be casted either or. I would like to see the devil have a form not of a serpent though, but a serpent like style. Cunning, witty, ect. It may follow the trend of Hollywood today, then again why would hollywood think this way, hmmmmmmmm?The Spectacle of the Chester Play #2
As before, the stage is being set on the pageant cart and the characters will build the frame (the frame being movable because the cart would be too heavy for the actors) the spectacles must now be added.
When thinking of the Late-Middle Ages, most might think the only object of spectacle would be fire, however, their perspective is one-dumb mind sided. There is music, lights, machinery systems, and the mindtricks for the audience; in addition, this being an influenced production we can use today's technology to be safe.
Are we allowed to do this and will it affect the feeling of the play?
Well, 1501 at Mons, two directors took these "secrets" (special effects) machinery and created a tunnel for hell. Actually, it took about 17 people to work this machinery imported from France. One tie in with this spectacle is a witness from Nagler's primary document The Stage Magic of Valenciennes whom account of these machinery as magic. It helped build the set and expand the theatrics of the production.
So could we add fire (pyrotechnics) yeah.
So could we add "magic" to the show? I am going to stop you right there. Magic is an effect to trick the mind into something that wasn't there. I want people to feel the spectacles and understand the emotions of the play.
Nagler, A.M.. "The Stage Magic of Valenciennes." A Source Book In Theatrical History. Compiled. Mineola: Dover Publications Inc., 1952. Print.
Monday, December 6, 2010
STAGING Chester Cycle Play 2
In the Late Middle Ages, the staging of these productions were watched because they were the hit of the community. It's weird, to state community referring to the middle ages towns, but whatever the point, this production must feel the same. I touched on history influencing the plays a vice versa, but it is time as a production to do the same.
In Naglers Source Book, English Pageant Cars, summarizes into these plays being a festival. Today's economy and budgetting may not allow a whole day of plays to go forth, but what stops the plays from going to the people.
Set on a pageant cart, the production would travel through out the community to show off what is in store for them; making a "cycle" through the twon/university portraying these thespians that are about to put on a show. Why is it Shakespeare is allowed to blow trumpets and hang a flag before his show and the Ligutral dramas can't have their fun!?
The play would be performed outside, of course, and staged for the people. I forgot to explain touch on the pageant carts. They are huge, so it would also be diffilcult to lug this huge set across town and such, so it would be more of a fram for people to take notice. Then once, the actors are back and place the "scene" in it's place the play can begin. Now onward with production!SOURCES:
Nagler, A.M.. "english pageant cars." A Source Book In Theatrical History. Compiled. Mineola: Dover Publications Inc., 1952. Print.
Chester Cycle Play 2 Influence and Perspective
After listening to this sound, the stage and concept can now begin forming. As time progresses, the thoughts of not staging a production, but recreating the aura of the play comes to mind. Last post I hinted on how production would be form and why? I spoke about how God's voice begins the play and not a form. Through my thoughts, god is not a form or being. GOD is GOD. He or she does not have to form to lead an audience, but should be-
This only comes after I am influence by my scholarly article Tears for Abraham: The Chester Play of Abraham and Isaac and Antisacrifice in Works by Wilfred Owen, Benjamin Britten, and Derek Jarman, by Allen J. Fratzen. For the most part, the article explains how people's perspective of the Chester plays production value goes up, but the moral and lesson value goes down. It is because people want entertainment and not a lesson.
We as thespians must learn from the past and understand why these plays even exist in the first play. Refering back to the article, it also sums up, people in the middle ages learned the true meaning of sacrifice for it was the first moral lesson to be taught from these stagings. So we must be influence to do things, not bigger, but push the button on giving the audience the deep thought of GOD's Will. Hence, why I am influence to portray god not in form but of being. Give him/her a loud voice and that is all. Let the audience interpret the words of god and not needed to be entertained by what form he/she comes in.
SOURCES:
Frantzen, Allen J., 1947-. "Tears for Abraham: The Chester Play of Abraham and Isaac and
Antisacrifice in Works by Wilfred Owen, Benjamin Britten, and Derek Jarman." Journal
of Medieval and Early Modern Studies 31.3 (2001): 445-476. Project MUSE. Brooks
Library, Ellensburg, WA. 21 Sep. 2010 <http://muse.jhu.edu/>.
The Plays Synopsis Chester Cycle Play 2
If the reader is looking for a play with the story of Adam and Eve, look no further. The Chester Cycle play 2 is the play for you. The "characters" are listed as follow:
ADAM
DEVIL/SERPENT
EVE
FIRST ANGEL
SECOND ANGEL
THIRD ANGELFOURTH ANGEL
image source: http://chestofbooks.com/arts/ancient/Older-Spain-Arts-And-Crafts/images/Altar-Front-In-Enamelled-Bronze-11th-Century-Museum-of-Bur.jpg
The play beings with the minstrels playing, and god comes forth and speaks out two lines in latin
Ego, sum alpha et omega
primus et novissimus
translation into...
I am Alpha and the Omega
the beginning, and the end...
From this verse, sums up into God's will. The play is, please don't get offended, another thought out version of Adam and Eve, however, the moral must be told. Adam is told about God's will, Eve breaks God's will, eternal damnation for breaking God's will to both of them because they followed the ways of the serpent whom is the devil. The play reads like poetry, but is still a play. There is a moral to the point, but to take this as a play would seem to diminish the value. I will explain in my next post. Again, even though this play 2 is an easy, yet understandable play, it is just 1 of the many plays part of the Chester cycle.
Note: For future reference, don't begin to think the play production will follow any of the format of history. The play/time will only influence the design choices. For instance, God beginning lines with a powerful voice is stronger with his words only than his actions.
The CHESTER Plays ORIGINS
To begin with, the plays themselves must have a history, and boy, do they have history. To say there is one play is a complete understatement. The plays were a cycle, a compliation of plays to be "cycled" through out the day. Incidently, doing what the greeks had been doing in the beginning. Having multiple plays going on during the day and keep going.
In other words, from Oxford Reference Online when Chester Play's searched, "see mystery plays."
Oh! Alright.
"mystery plays, biblical dramas popular in England from the 13th to the later 16th cent., take their name from the mestier (métier or trade) of their performers; they were previously called ‘Miracle Plays’ which, strictly, are enactments of the miracles performed by the saints. The Mysteries enact the events of the Bible from the Creation to the Ascension (and in some cases later)."
In addition, "Though it is clear from their archives that many English towns had them, only four complete cycles survive: York, Chester, Wakefield ...it is not known where it comes from. They are connected with the feast day of Corpus Christi."
For the most part, the plays relate to the last post, which the church influence the prodcution of these plays, and probably wrote them as well. Now the reader knowing where the play comes from the play can be explained.
SOURCES:
"Chester Plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e1173
"mystery plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e4316>
In other words, from Oxford Reference Online when Chester Play's searched, "see mystery plays."
Oh! Alright.
"mystery plays, biblical dramas popular in England from the 13th to the later 16th cent., take their name from the mestier (métier or trade) of their performers; they were previously called ‘Miracle Plays’ which, strictly, are enactments of the miracles performed by the saints. The Mysteries enact the events of the Bible from the Creation to the Ascension (and in some cases later)."
In addition, "Though it is clear from their archives that many English towns had them, only four complete cycles survive: York, Chester, Wakefield ...it is not known where it comes from. They are connected with the feast day of Corpus Christi."
For the most part, the plays relate to the last post, which the church influence the prodcution of these plays, and probably wrote them as well. Now the reader knowing where the play comes from the play can be explained.
SOURCES:
"Chester Plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e1173
"mystery plays" The Concise Oxford Companion to English Literature. Ed. Margaret Drabble and Jenny Stringer. Oxford university Press, 2007. Oxford Reference Online. Oxford University Press. Central Washington University. 7 December 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t54.e4316>
IN THE BEGINNING...
There was theatrics throughout history, and it comes to the era of Medival. The play which has landed in my hands is part of the Chester Cycle, Play 2. Before I begin, I would like to remind the reader the period the material relates too.
It was in the late Middle Ages (1300's-1500's) where the cycle of religious plays were at it's peak. The cause of this was due to the help of the church releasing the plays upon the people. In short, before the 1300's the church held the rights to the plays being performed. The Cycle plays purpose was to have people wanting to come to church after seeing them. As time progress, the chruch then slowly, but surely, let the plays go public.
The blooming of the plays in the late Middle Ages can be connected with the influence of the economic and political changes which occured during the (1050's-1300's). The plays could not be produced when the surroundings are filled with feudal lords. As a result, Guilds were formed to protect the peoples interest from such lords and merchants (when the play would travel). But do not be lead astray, I am not saying the guilds were formed for the plays, but the community banded the group together. Each guild had its hiearchy, and once civil becomes greed. Kings and princes began to take control of the guilds, therefore the lords which had the people's trust; would influence the people, but then once again ruled by the kings.
In any case, the plays were still produce with the blessing of the church. Now we understand the timeline of the origins surroundings of the cycle plays. We, now can construct the production of the play itself and form an understanding of the big question...WHY?
SOURCE:
Brockett, Oscar G.. "European Theatre in the Late Middle Ages." History of the Theatre. Edited. Karon Bowers. Boston: Pearson Education Inc., 2007. Print.
It was in the late Middle Ages (1300's-1500's) where the cycle of religious plays were at it's peak. The cause of this was due to the help of the church releasing the plays upon the people. In short, before the 1300's the church held the rights to the plays being performed. The Cycle plays purpose was to have people wanting to come to church after seeing them. As time progress, the chruch then slowly, but surely, let the plays go public.
The blooming of the plays in the late Middle Ages can be connected with the influence of the economic and political changes which occured during the (1050's-1300's). The plays could not be produced when the surroundings are filled with feudal lords. As a result, Guilds were formed to protect the peoples interest from such lords and merchants (when the play would travel). But do not be lead astray, I am not saying the guilds were formed for the plays, but the community banded the group together. Each guild had its hiearchy, and once civil becomes greed. Kings and princes began to take control of the guilds, therefore the lords which had the people's trust; would influence the people, but then once again ruled by the kings.
In any case, the plays were still produce with the blessing of the church. Now we understand the timeline of the origins surroundings of the cycle plays. We, now can construct the production of the play itself and form an understanding of the big question...WHY?
SOURCE:
Brockett, Oscar G.. "European Theatre in the Late Middle Ages." History of the Theatre. Edited. Karon Bowers. Boston: Pearson Education Inc., 2007. Print.
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