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Source Notes for Illustrations 11 Acknowledgements 15 Introduction 17 Chapter 1. Winchester and the Visitatio Sepulchri in the Tenth Century 19 Bishop Ethelwold's Text of the Visitatio Sepulchri 19 The Position of the Visitatio Sepulchri in Ecclesiastical Observances 19 The Question of Origins 20 The Sources of the Regularis Concordia and the Origins of the Visitatio Sepulchri 23 The Structure of the Visitatio Sepulchri and the Hand of the Director 24 The Concept and Staging Principles of the Early Visitatio Sepulchri 24 The Sepulchre and the Playing Space 25 The Tenth-Century Churches at Winchester and Canterbury 26 The Problem of the Westwork 28 Pictorial Evidence 30 Chapter 2. Plays of the Medieval Church: The Texts 35 Chapter 3. Staging Space and Patterns of Movement-with Set Pieces and Special Effects 39 Staging Space and Patterns of Movement 39 The Visitatio Sepulchri: Introduction 39 The Easter Sepulchre Outside the East Choir: Trier, Essen, Magdeburg, Meissen 41 Cathedral of Trier-the Sepulchre in the Crypt 41 Collegiate Church of Canonesses and Canons at Essen-the Sepulchre in the West 41 Cathedral of Magdeburg-the (Permanent) Sepulchre in the Nave-and Other Permanent Sepulchres 51 Dramatic Performance and Permanent Replicas of the Holy Sepulchre 51 The Sepulchre Outside the Church 60 Cathedral of Meissen-the Sepulchre in a Chapel 65 Usage in Two Double-Choired Churches: Bamberg and Besancon 65 Cathedral of Bamberg-the Sepulchre in the Subsidiary Choir 65 Church of St. John the Evangelist at Besancon-the Sepulchre and the Manger at 67 the High Altar Productions at the Cathedral of Rouen and in the Fleury Playbook 68 Cathedral of Rouen 68 Visitatio Sepulchri 68 Peregrinus 71 Officium Pastorum 72 Officium Stellae Ordo Prophetarum The Fleury Playbook and the Church of St.-Benolt-sur-Loire 75 Visitatio Sepulchri Peregrinus 76 Officium Stellae 77 Ordo Rachelis (The Slaughter of the Innocents) 80 Resuscitatio Lazari Conversio Sancti Pauli Filits Getronis 8 Summary of Information on the Staging of the Plays in the Fleury Playbook 84 Special Stage Arrangements at Tegersee (twelfth century), Avignon (ca. 1372), 87 and Bozen (1514) The Play of Antichrist, from Tegernsee (twelfth century) 87 The Presentation of the Blessed Virgin, by Philippe de Mezieres (Avignon, ca. 1372) 89 The Passion Play, in Bozen, 1514 The Use of Church Space: Summary 96 Centers of Action and the Playing Area 96 Geographical Places Designated in Rubrics 97 The Parts of the Church 98 Set Pieces and Special Effects Isaac, Joseph, and Daniel: tabernacula, thrones and pits 100 Annunciation, Ascension, and Pentecost: curtained pavilions and flying devices 102 AnnunciatiOn, Yi102 Pavilions Flying devices 102 Other Special Effects: light, sound, appearances and disappearances, effigies 106 Light and Sound 106 Appearances, Disappearances, and Effigies 107 Summary: Major Scenic Elements 109 Appendix A. Sion: On the Border between Ceremony and Drama 112 Textual Materials Relevant to the Visitatio Sepulchri at Sion-Summary 114 The Visitatio Sepulchri at Sion-Summary of Textual Evidence for Performance in the Cathedral and in the Valeria Church 114 List of Sion Texts 115 Features Named in the Rubrics of Sion Texts-Documentation 115 Reconstructions-Drama and Ceremony at Sion 116 Sion-Bibliography 116 Appendix B. Movement Patterns of the Performers in the Visitatio Sepulchri at Gerrode 117 Special Notes on the Location of Features of the Gerrode Church Related to the Staging of the Visitatio Sepulchri There 117 Appendix C. Set Pieces: Terminology 120 Chapter 4. The Costumes Visitatio Sepulchri: The Variety and Kinds of Vestments 123 Ludus Paschalis 129 Peregrinus 129 The Passion Play 130 Annunciation and Ascension 132 Officium Pastorum and Officium Stellae 132 Ordo Prophetarum 133 Singular New Testament Characterizations Through Costume 135 Old Testament Plays 135 Festum Praesentationis Beatae Mariae Virginis 136 Sources of Garments 138 Summary 138 Chapter 5. Acting Introduction: Performers of Ceremonies 141 The Actors 143 Women Play Women 143 The Abbess 144 The Rite of Purification: The Abbess and the Three Marys 145 Fresh Composition and Human Feeling at Origny and at Barking 147 Origny St. Benoit 147 Barking 148 Special Features of Men's Texts 149 Women Identify with the Marys 150 Three Types of Visitatio Performances by Women 151 Voices 151 Women Play Women 152 Texts of the Visitatio Sepulchri-from the Lipphardt edition 153 Visitatio Texts from Churches and Women's Convents with Women as the Marys 153 Visitatio Texts from Churches and Monasteries with Men as the Marys- the Magdalen Role Emphasized 153 Visitatio Text with Unknown Ecclesiastical Origins-the Magdalen Role Emphasized 153 The Actors 154 Actors' Sides 155 Actors' Voices 155 Voice Vocabulary 156 The Qualities and Use of the Voice 158 The Anglo-NormanJeu d'Adam and the Planctus Mariae of Cividale: Prompt-scripts for the Actors 162 The Use of the Body 164 Characterization 164 Means of Conveying Emotions 165 Attitudes and Acts Adapted from Ritual 167 A Summary Catalogue of Movement and Gesture 169 Especially Mimed Moments 170 Extended Mime or Dumb Show 172 Verisimilitude versus Ritual: The Style 172 Chapter 6. The Music The Gesamtkunstwerk 175 Words and Music 180 Fleury, "The Slaughter of the Innocents" (Ordo Rachelis), and "The Image of St. Nicholas" (Iconia Sancti Nicolai) 180 A Twelfth-Century Lament of a Jew: The Texts of Words and Notes 182 Other Music Dramas 186 Dramatic Character Through Music 188 Modes and Dramatic Music 188 Soloists, Choruses, and Instruments 190 Dramatic Qualities of the Music 191 Dramatic Functions of the Music 192 The Congregation 197 Public Enactment and Hidden Rite 198 The Tourist and the Native in the Theatre 201 Vocal Language 202 Body Language 202 Conclusion 203 Notes 207 Bibliography 235 Index 241