Osterspiele Week 2. ReCap: From Liturgy to Osterfeier. Structure. Paper IX. Henrike Lähnemann. Hilary Term 2016

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1 Paper IX Osterspiele Week 2 Henrike Lähnemann Hilary Term 2016 Structure 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 Week 6: Making Hell - Fragment I-III Week 7: Breaking Hell - Fragment IV-VIII Perspectives The Chi Rho with a wreath symbolizing the victory of the Resurrection, above Roman soldiers, ca. 350 Week 8: Later Texts and Contemporary Staging 2 ReCap: From Liturgy to Osterfeier Beginning of the Tradition in the liturgical celebration of Easter (Easter Ceremonial / Osterfeier), increasingly built up by scenic elements Development first of Latin, then of vernacular plays (Easter Plays / Osterspiele) > 900 Latin Osterfeiern (Tropus / Visitatio) > 1200 Latin Osterspiele > 1250 German / mixed Osterspiele Resurrection and Ascension Italy 4 th /5 th cent. Inv.-Nr. MA 157, Bayerisches Nationalmuseum 3 1

2 Three Types of Visitatio Beginning with Tropus-Feiern Scenes added around the Visitatio Sepulchri developed in parallel; Three types of Visitatio Type 1, Basic form: Quem quaritis acted out; can be amplified by further dialogue 1. Dramatising the way to the tomb: Quis revolvet nobis lapidum ab ostio monumenti? 2. Prolonging the dialogue between the angels and the Marys: Angel: Non est hic, surrexit sicut predixerat, ite, nuntiate quia surrexit a mortuis. Venite et videte locum ubi positus erat Dominus. Cito euntes dicite discipuliseius, quia surrexit dominus, alleluia. IH(ESV)M NASARENV(M) C(RV)CIFIX(VM) IA(M) SVRREXIT SED ITE 4 Visitatio 2 and Visitatio 3 Type 2: First amplification Apostle Scene added in with Mary Magdalene s Report and the Race of the Disciples to the Tomb ( Jüngerlauf ). Liturgical inspirations: Victimae Paschalis Currebant duo simul Cernitis o socii Type 3: Second amplification Hortulanus Scene added with Mary Magdalene meeting the risen Christ Cum rex gloriae -initial with Christ harrowing hell in liturgical handbook for Easter Sunday for the Provost of Medingen (1479) Bodleian MS. Lat. liturg. e. 18, fol. 47vb and their dialogue. Further scenes following from here: Guarding the grave and other scenes involving knights Mercator Scene (buying the ointment) Descensus ad inferos / Harrowing of Hell (liturgical inspiration: Cum rex gloriae) 5 The Latin Easterplays Screenshot from a performance in the Abbey of Weingarten (website of Prof. Stefan Morent) Documented from 1200 Scenes from Osterfeier expanded and successively dramatized Performance remains in the church and by the clergy Visual element foregrounded Gestures and facial expressions intensified Additional props: sword of flames, cross of triumph, weapons New scenes added Pilatus-Szene: Jews ask Pilate for a guard Wächter-Spiel: Guards are hired; go to the tomb; argue among each other This becomes a framework for: Resurrection and Harrowing of Hell 6 2

3 Stage directions for a Latin Passion Play Ille qui est Ihesus est devotus sacerdos, Maria iuvenis, Iohannes ewangelista sacerdos, Maria Magdalena et mater Iohannis ewangelistae iuvenes. Ihesus debet se praeparare cum casula rubra, Iohannes simili modo. Ihesus et Iohannes debent habere dyademata de papiro. dyadema Ihesu habeat rubram crucem ante et retro. (Bordesholmer Marienklage, instructions before the play) Kloster Wienhausen: The Risen Christ and moveable props (12th cent.) Innsbrucker Osterspiel - Codicology Search for 'Osterspiel' 8 Key Facts Innsbrucker Osterspiel Part of a collection of plays: Assumption of Mary Easter Corpus Christi East Central German dialect (Thuringian) Manuscript completed on 1 Sept 1391 Format: 28 x 11 cm ( Heberegisterformat ) Written (?) in Kloster Neustift / Brixen (death of Oswald of Wolkenstein 1445) Written on (Italian) paper Heavily used and worn Director s Handbook? Innsbruck, Universitäts- und Landesbibl., Cod. 960, fol. 50r: Explicit ludus de resurrectione domini Anno domini M CCC nonage simo primo completus est liber iste Sexta feria Jn die Egidij 9 3

4 Staging a Mystery Play with Several Loca Paradise Limbo Temple Palace The Golden Gate Nazareth Jerusalem Bishop s House Hell The Sea of Galilee Stage design for a mistere de la passion performed in Valenciennes, 1547 (Hubert Cailleau, BnF Gallica collection) 10 Scenes of the Innsbrucker Osterspiel 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 11 Preparation for Week 2 Read the first part of the Innsbrucker Osterspiel Prologue (Line 1-40) Wächterspiel (Line ) Analyse the Prologue How is the audience addressed? What are the main plot elements mentioned? What can you find out about the performance situation from the text? What is the role of the Expositor Ludi? The Guards in uproar See them at the Ashmolean: Jacopo Robusti, called Tintoretto ( ) The Resurrection of Christ 12 4

5 Structure of the Prologue Stagedirection Address to the audience Sneak preview Resurrection Descending into Hell Harrowing of Hell Introduction to the first scene Silence as structure continued in the angels calls: 167: Siletis, 456: Silete, 1075 : Silete 13 Prologue 1: Expositor Ludi Address to the audience everybody included (cf. role of nuntius, 133) Sneak preview darum Introduction to the first scene darum Announcer for the York Mystery Cycle in pseudo-medieval herald s dress with paper crown and mock parchment scroll 14 Prologue 2: Sneak Preview Sneak preview Resurrection: wy unser herre ist enstanden Descending into Hell: wy er fert vor der helle tor Harrowing of Hell: wy er dy helle czustost Relevance of the topic: keyn mensche so wol mochte gebaren, iz muste iedoch der helle czu daz wil got hute brengen wider. Call for silence 15 5

6 Prologue 3: Listening züchtiglich From a didactic manuscript (UB Heidelberg Cpg 471, fol. 6r): The contrast between old and foolish and old and wise 16 Prologue 4: Introducing Scene 1 Stagedirection Address to the audience Sneak preview, ending in address to cristenlute Introduction to the first scene Wy dy Juden dar varen props: grab actors: ritter task: guarding the tomb 17 Preparation for Week 3 Read the second part of the Innsbrucker Osterspiel : Harrowing of Hell (Line ) Figure out the stage setting for the scene Look at the distribution of Latin and German / sung and spoken texts: How does the German pick up the Latin? The Harrowing of Hell Marginal Illustration in the Psalter of the Medingen Nun Margarete Hopes (c. 1500) The Devil s Scroll: Quis est iste rex? Adam s scroll: Advenisti desiderabilis 18 6