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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPN
100	1		_aChambers, E. K. _q(Edmund Kerchever), _d1866-1954
245	1	4	_aThe mediaeval stage, volume 2 (of 2)
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-11-23
508			_aTim Lindell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
520			_a"The mediaeval stage, volume 2 (of 2)" by E. K. Chambers is a scholarly historical study written in the early 20th century. This volume examines how medieval European drama emerged from church ritual, then broadened into guild plays, moralities, pageants, and the interlude tradition. It combines close readings of texts and rubrics with cultural context to trace the shift from liturgical ceremony to secular performance. The opening of this volume lays out the scope (religious drama and the interlude) and then begins with a richly sourced account of liturgical plays. It argues that formal theatre collapsed after Rome but was reborn inside Christian worship, showing how ceremonies, chant, antiphony, and musical “tropes” fostered dialogue and action. The core example is the Easter “Quem quaeritis” dialogue, first a brief Introit trope and then a staged scene at the Easter sepulchre; Chambers quotes the Regularis Concordia to describe its performance with an angel, the three Marys, lifting the veil, and displaying the burial cloths. He details the Good Friday “Depositio” and Easter “Elevatio,” the varied forms and placement of the sepulchre, vigil practices, and later Reformation suppression. The analysis tracks expansions of the play (the Victimae paschali sequence, appearances of Peter and John, and later the risen Christ with the Noli me tangere), added laments, a spice-merchant episode, costumes, and the consistent chanted delivery ending with the Te Deum. It then sketches related Easter pieces (the Emmaus Peregrini and composite Resurrection plays) and begins the Christmas cycle with the shepherds’ office, the Epiphany star play, the Rachel lament, and the prophetic pageant, showing how each grew from simple liturgical cues into more elaborate dramatic forms. (This is an automatically generated summary.)
534			_pOriginally published: _cLondon: Oxford University Press, 1903
653			_aTheater -- History -- Medieval, 500-1500
653			_aDrama, Medieval -- History and criticism
856	4		_uhttps://archive.org/details/mediaevalstage02chamuoft/page/n5
856	4	0	_uhttps://www.gutenberg.org/ebooks/77310
999			_c118030 _d118030