Book contents
- Frontmatter
- Contents
- Epigraph
- Editorial
- In honorem John J. McGavin
- John J. McGavin: Bibliography
- The Places of Foolery: Robert Armin and fooling in Edinburgh
- George Bannatyne's ‘Sertane Mirry Interludis’, and Sir David Lyndsay's play
- The Linlithgow Interlude of 1540 and Lyndsay's Satire of the Thrie Estaitis
- Stage Directions in Lyndsay's Ane Satire of the Thrie Estaits
- The Dramatic Voice of William Dunbar
- How to Track a Bear in Southwark: a learning module
- The Digby Mary Magdalen in Performance: a merry peripeteia
- ‘Thus am I Rent on Rode’: taking apart the Towneley Crucifixion
- The Second Shepherds' Play: a play for the Christmas season
- ‘They did not come out of an Abbey in Lancashire’: Francis Douce and the manuscript of the Towneley Plays
- EDITORIAL BOARD (2015)
Editorial
Published online by Cambridge University Press: 05 March 2016
- Frontmatter
- Contents
- Epigraph
- Editorial
- In honorem John J. McGavin
- John J. McGavin: Bibliography
- The Places of Foolery: Robert Armin and fooling in Edinburgh
- George Bannatyne's ‘Sertane Mirry Interludis’, and Sir David Lyndsay's play
- The Linlithgow Interlude of 1540 and Lyndsay's Satire of the Thrie Estaitis
- Stage Directions in Lyndsay's Ane Satire of the Thrie Estaits
- The Dramatic Voice of William Dunbar
- How to Track a Bear in Southwark: a learning module
- The Digby Mary Magdalen in Performance: a merry peripeteia
- ‘Thus am I Rent on Rode’: taking apart the Towneley Crucifixion
- The Second Shepherds' Play: a play for the Christmas season
- ‘They did not come out of an Abbey in Lancashire’: Francis Douce and the manuscript of the Towneley Plays
- EDITORIAL BOARD (2015)
Summary
Medieval English Theatre Meeting 2015 Change of publication details
The 2015 METh meeting was held at the University of Southampton, hosted by John McGavin. His carefully timetabled proceedings were interrupted by the unscheduled (by him) presentation of a Festschrift in his honour. He holds the unique composite volume, but the articles it contains will be divided between this volume of METh (Part One), and Volume 38 (Part Two).
The rest of the day lived up to its festive beginning. A range of papers on the topic of ‘Paradigms Lost’ highlighted those once entrenched scholarly positions about which we have changed our minds. Pamela M. King, in ‘Medieval Drama Criticism before METh’, introduced the late nineteenth-century work of Adolphus William Ward; Garrett Epp, on ‘Things we can no longer say about the Towneley Plays’, gave an impressive PowerPoint show of deletions of accepted ‘facts’; while Meg Twycross summarised new evidence on the provenance of the manuscript (see this volume). Other speakers introduced new material which extends or changes our approach to well-worn topics: Lindsey Cox showed us the visual evidence for the portrait miniature in Wit and Science, and how the different parts of the audience might have perceived it, and Jason Burg sketched the changing patterns of performance in Lincoln Cathedral between 1309 and 1642. Nadia van Pelt reminded us of the necessity of looking at original manuscript sources rather than their calendared summaries by discussing the enigmatic detail of a letter from Chapuys which reports Henry VIII's visit to a St John's Day pageant showing him ‘cutting off the heads of the clergy’; while Greg Walker rounded off the day with a masterly summation of recent critical approaches to spectatorship, and where they fell short.
Elisabeth Dutton gave us our own spectatorly experience. Before lunch, James McBain and Stephanie Allen of the EDOX (Early Drama at Oxford University) project spoke about ‘Rehabilitating Academic Drama’, and just after lunch this was put to the test by an enthusiastic reading of the play of Narcissus originally mounted by the undergraduates of St John's College, Oxford, as a Christmas entertainment in 1602.
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- Chapter
- Information
- Medieval English Theatre 37The Best Pairt of our Play. Essays presented to John J. McGavin. Part I, pp. 1 - 2Publisher: Boydell & BrewerPrint publication year: 2015