Paper IX. Osterspiele Week 5. Henrike Lähnemann. Hilary Term 2015

Transcription

1 Paper IX Osterspiele Week 5 Henrike Lähnemann Hilary Term 2015

2 Structure Mary Magdalene with the ointment (figure from a resurrection scene, Tirol 1515) Introduction Week 1: From Osterfeier to Osterspiel The Innsbrucker Osterspiel Week 2: Setting the Scene Week 3: Guarding the Tomb Hell s Teeth Week 4: Sex and Drugs Week 5: Visiting the Tomb The Osterspiel von Muri Perspectives Week 6: Making Hell - Fragment I-III Week 7: Breaking Hell - Fragment IV-VIII Week 8: Later Texts and Contemporary Staging 2

3 ReCap: The Story So Far 1 Prologue Front Stage I: Wächterspiel 41 Hiring the Guard Temple (46), Front Stage (133) 202 Resurrection Tomb 214 The Guards Reaction From Temple to Tomb II: Höllenspiel 251 Harrowing of Hell Limbo III: Krämerspiel 507 Lament of the Three Marys Front Stage 540 Merchant s Play 1 Merchant s House 838 Lament of the Three Marys Merchant s Play Buying the Ointment 1001 Merchant s Play 3 Front Stage IV: Visitatio Sepulchri 1075 Visitatio Sepulchri Tomb 1139 Hortulanus Scene Garden / Front Stage 1208 Announcing the News 1 Apostle s House 1216 Doubting Thomas 1257 Announcing the News The Apostles Race Tomb 1291 Epilogue Front Stage 3

4 II: Höllenspiel: Interlude Ständesatire analogue to Danse Macabre 388 Lucifer s Survey *** Angels Silence while Satan gets souls*** 461 Confessions of the animae, pleading Lübecker Totentanz (Reconstruction) Canon Nobelman - Doctor 4

5 Preparation for Week 4 Read the third part of the Innsbrucker Osterspiel : Merchant s Play (Line ) Look particularly at how the merchant / Rubin scenes are linked with the scenes involving the three Marys How is comic produced and who is made fun of? 5

6 III: Krämerspiel 507 Lament of the Three Marys Front Stage 540 Merchant s Play 1 Merchant s House 838 Lament of the Three Marys Merchant s Play Buying the Ointment 1001Merchant s Play 3 Front Stage Jan van Eyck (?) The Three Marys at the Tomb c

7 III: Krämerspiel 540Merchant s Play 1 Dialogue as comic interlude Medieval Merchant s House in Southampton c

8 III: Krämerspiel Title page for Red vnd widerred Salomonis vnd marcolfy, Augsburg

9 III: Krämerspiel Screen shot of Des Arcztz Vasnacht (Hans Rosenplüt) performed by Die Komediävisten, Tübingen 1999, TIMMS Server 9

10 III: Krämerspiel: Mercator Rubin Pusterbalk Lasterbalk Sequence of comic figures Title page for Red vnd widerred Salomonis vnd marcolfy, Augsburg

11 III: Krämerspiel 838 Lament of the Three Marys Merchant s Play Buying the Ointment 1001Merchant s Play 3 Front Stage Jan van Eyck (?) The Three Marys at the Tomb c

12 III: Krämerspiel Finishing with a comic fight of the sexes From a didactic manuscript (UB Heidelberg Cpg 471, fol. 6r): old & foolish v. old & wise 12

13 IV: Visitatio Sepulchri 1075 Visitatio Sepulchri Tomb 1139 Hortulanus Scene Garden / Front Stage 1208 Announcing the News 1 Apostle s House 1216 Doubting Thomas 1257 Announcing the News The Apostles Race Tomb 1291 Epilogue Front Stage Read the last part of the Innsbrucker Osterspiel, the Visitatio Sepulchri (Line 1075 to end) Look particularly at how the liturgical / Latin / sung parts are integrated in the drama and how this part relates to the previous parts 13

14 Elements of the Latin Easter Ceremonial in the Visitatio The Zwiefalten Osterfeier D-Sl, Cod. bibl. 4 36, fol. 123v [fol. 122v] When the third response is sung again, three presbyter or deacons, dressed in white capes, with the humeral veil draped around their head and holding incense dispensers, go forth to the altar, where the tomb of the Lord is prepared, and sing with very suppressed voices: IIa Quis revolvet nobis ab ostio lapidem, quem tegere sanctum cernimus sepulcrum? Once this is finished, two brothers close by, who sit dressed with dalmatics and with similarly veiled heads next to the tomb, immediately follow up on this with: Ib Quem queritis in sepulcro, o christicole? In answer to this respond those who act in place of the women Ic Iesum Nazarenum crucifixum, o celicole 14

15 IV: Visitatio Sepulchri 1075 Visitatio Sepulchri Tomb 1139 Hortulanus Scene Garden / Front Stage 1208 Announcing the News 1 Apostle s House 1216 Doubting Thomas Holy Sepulchre with scenes from Passion and Resurrection (Wienhausen, 14 th century) 15

16 IV: Visitatio Sepulchri 1075 Visitatio Sepulchri Tomb 1139 Hortulanus Scene Garden / Front Stage 1208 Announcing the News 1 Apostle s House 1216 Doubting Thomas Holy Sepulchre with scenes from Passion and Resurrection (Wienhausen, 14 th century) 16

17 IV: Visitatio Sepulchri 1075 Visitatio Sepulchri Tomb 1139 Hortulanus Scene Garden / Front Stage 1208 Announcing the News 1 Apostle s House 1216 Doubting Thomas Holy Sepulchre with scenes from Passion and Resurrection (Wienhausen, 14 th century) 17

18 Epilogue: John the Evangelist as Narrator Saint John the Evangelist Writing, German, c Parchment. The J. Paul Getty Museum, Ms. 108v 18

19 Christ is erstanden as signature tune Postea populus cantet laudes Resurgenti illud iocundum canticum Christ is vpstande van siner marter alle des scholle we alle vro sin got de wel vnse trost sin Kyrioleis. Ideo in sequencia populorum laudibus alternatur quia in christi resurrectione diuinis humana iungitur. merito omnis sexus et gradus consonis resultat vocibus. Then the congregation sings in praise of the Risen Christ the following jolly song: Christ is Risen This interplay of sequence and the praise by the congregation is done because in Christ s resurrection divine and human join. Non enim fas est vt ea die lingua carnis taceat Devotional Manuscript from Medingen (1478) Dombibliothek Hildesheim Ms J 29, f. 40r 19

20 Preparation for Week 6 Read the introduction and the first part of the Osterspiel von Muri Compare the scenes and their sequence with the Innsbrucker Osterspiel Try to identify German phrases that are translations from Latin Be in the next lecture (Week 6) on Monday, 12noon, Taylorian, Room 16! Aarau, Aargauer Kantonsbibliothek, MsMurF 31a, f. recto Osterspiel von Muri 20