https://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&feed=atom&action=historyPerforming Medieval Drama: Audiences, Communities, and Adaptations - Revision history2024-03-28T22:38:49ZRevision history for this page on the wikiMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28636&oldid=prevMariaHorne at 12:41, 10 April 20182018-04-10T12:41:19Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied <del style="font-weight: bold; text-decoration: none;">from </del>Mystery Play Archive<del style="font-weight: bold; text-decoration: none;">, </del>National Centre for Early Music<del style="font-weight: bold; text-decoration: none;">, York, England</del>. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |622x622px|left]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied <ins style="font-weight: bold; text-decoration: none;">by the </ins>Mystery Play Archive <ins style="font-weight: bold; text-decoration: none;">at the </ins>National Centre for Early Music. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” <ins style="font-weight: bold; text-decoration: none;"> </ins>|622x622px|left<ins style="font-weight: bold; text-decoration: none;">|alt=The York Mystery Play by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied by the Mystery Play Archive at the National Centre for Early Music. ----------------------------------------------------------------------------------------------------------------------------- “Supplementary information: Printed by the Ebor Press, York, England. ISBN 0 900657 92 8 (1984) Page 21 shows the route through York, and names the playing stations of the performance on Corpus Christi day 1569.” </ins>]]</div></td></tr>
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</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28610&oldid=prevMariaHorne at 21:37, 7 April 20182018-04-07T21:37:51Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This article is the third and last of three installments of the Ten Performance-Based Lesson Plans for Medieval Theatre, as noted in the article Medieval Drama and Performance-Based Pedagogy, conceived and written by Barbara J. Bono, Maria S. Horne, and Michelle Markey Butler, and is associated with the Folger Institute's 2016-2017 year-long colloquium on Teaching Medieval Drama and Performance, which welcomed advanced scholars whose research and pedagogical practice explore historical, literary, and theoretical dimensions of medieval drama from the perspective of performance.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This article is the third and last of three installments of the Ten Performance-Based Lesson Plans for Medieval Theatre, as noted in the article <ins style="font-weight: bold; text-decoration: none;">[[</ins>Medieval Drama and Performance-Based Pedagogy<ins style="font-weight: bold; text-decoration: none;">]]</ins>, conceived and written by Barbara J. Bono, Maria S. Horne, and Michelle Markey Butler, and is associated with the Folger Institute's 2016-2017 year-long colloquium on <ins style="font-weight: bold; text-decoration: none;">[[</ins>Teaching Medieval Drama and Performance <ins style="font-weight: bold; text-decoration: none;">(colloquium)|Teaching Medieval Drama and Performance]]</ins>, which welcomed advanced scholars whose research and pedagogical practice explore historical, literary, and theoretical dimensions of medieval drama from the perspective of performance.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As the title ''Performing Medieval Drama: Audiences, Communities, and Adaptations ''suggests, this article focuses on a series of three performance-based lesson plans to help produce and stage medieval drama in your school and community. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As the title ''Performing Medieval Drama: Audiences, Communities, and Adaptations ''suggests, this article focuses on a series of three performance-based lesson plans to help produce and stage medieval drama in your school and community. </div></td></tr>
</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28609&oldid=prevMariaHorne at 21:34, 7 April 20182018-04-07T21:34:59Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This article is the third and last of three installments of the Ten Performance-Based Lesson Plans for Medieval Theatre, as noted in the article Medieval Drama and Performance-Based Pedagogy, and is associated with the Folger Institute's 2016-2017 year-long colloquium on Teaching Medieval Drama and Performance, which welcomed advanced scholars whose research and pedagogical practice explore historical, literary, and theoretical dimensions of medieval drama from the perspective of performance.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This article is the third and last of three installments of the Ten Performance-Based Lesson Plans for Medieval Theatre, as noted in the article Medieval Drama and Performance-Based Pedagogy<ins style="font-weight: bold; text-decoration: none;">, conceived and written by Barbara J. Bono, Maria S. Horne, and Michelle Markey Butler</ins>, and is associated with the Folger Institute's 2016-2017 year-long colloquium on Teaching Medieval Drama and Performance, which welcomed advanced scholars whose research and pedagogical practice explore historical, literary, and theoretical dimensions of medieval drama from the perspective of performance.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As the title ''Performing Medieval Drama: Audiences, Communities, and Adaptations ''suggests, this article focuses on a series of three performance-based lesson plans to help produce and stage medieval drama in your school and community. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As the title ''Performing Medieval Drama: Audiences, Communities, and Adaptations ''suggests, this article focuses on a series of three performance-based lesson plans to help produce and stage medieval drama in your school and community. </div></td></tr>
</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28605&oldid=prevMariaHorne at 21:24, 7 April 20182018-04-07T21:24:51Z<p></p>
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</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28602&oldid=prevMariaHorne at 16:23, 7 April 20182018-04-07T16:23:36Z<p></p>
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</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28538&oldid=prevBarbaraBono at 14:38, 5 April 20182018-04-05T14:38:19Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What’s On for Today and Why? ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What’s On for Today and Why? ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Medieval drama is truly world drama--then, when it offered broad narratives of history or allegories of human behavior or natural processes--and now, when it continues to be widely current and adaptable across world cultures. “Creation to Last Judgment” plays—both ones performed as civic cycles, like those from York and Chester, and those compiled in manuscript, like the N-Town and Towneley plays—presumed to treat all of salvation history. Morality plays such as Mankind and The Castle of Perseverance dramatized the struggle for salvation of representative everymen. Saints’ plays centered on exemplary figures of piety or heroism. Derivative forms like Henry Medwall’s ''Nature'', John Skelton’s ''Magnificence'', or the plays of John Bale dealt with problems in natural or moral philosophy or political theory. The sweep and scope of medieval drama is part of its attraction, and it held its traditional forms for hundreds of years, while its revivals and adaptations, from passion plays, to biblical pageants, to stark allegories, to rollicking city comedies, to present-day dramas of truth and reconciliation, have had and continue to have broad appeal. For some of the final exercises in our unit or course, we would like to invite students to explore and to think creatively about some of the current adaptations of the stories, motifs, and scope of medieval drama to the modern world, and perhaps to make their own “world” art. <br></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Medieval drama is truly world drama--then, when it offered broad narratives of history or allegories of human behavior or natural processes--and now, when it continues to be widely current and adaptable across world cultures. “Creation to Last Judgment” plays—both ones performed as civic cycles, like those from York and Chester, and those compiled in manuscript, like the N-Town and Towneley plays—presumed to treat all of salvation history. Morality plays such as <ins style="font-weight: bold; text-decoration: none;">''</ins>Mankind<ins style="font-weight: bold; text-decoration: none;">'' </ins>and <ins style="font-weight: bold; text-decoration: none;">''</ins>The<ins style="font-weight: bold; text-decoration: none;">'' ''</ins>Castle of Perseverance<ins style="font-weight: bold; text-decoration: none;">'' </ins>dramatized the struggle for salvation of representative everymen. Saints’ plays centered on exemplary figures of piety or heroism. Derivative forms like Henry Medwall’s ''Nature'', John Skelton’s ''Magnificence'', or the plays of John Bale dealt with problems in natural or moral philosophy or political theory. The sweep and scope of medieval drama is part of its attraction, and it held its traditional forms for hundreds of years, while its revivals and adaptations, from passion plays, to biblical pageants, to stark allegories, to rollicking city comedies, to present-day dramas of truth and reconciliation, have had and continue to have broad appeal. For some of the final exercises in our unit or course, we would like to invite students to explore and to think creatively about some of the current adaptations of the stories, motifs, and scope of medieval drama to the modern world, and perhaps to make their own “world” art. <br></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What to Do? ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What to Do? ===</div></td></tr>
</table>BarbaraBonohttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28515&oldid=prevMariaHorne at 16:46, 4 April 20182018-04-04T16:46:23Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Medieval drama came from the life of its many communities—our records of it are largely civic-based (see REED), and even when it was performed by acting troupes those productions were extraordinarily responsive to the occasional performance conditions they encountered in the streets, in great halls, or in the open air—and there is a long tradition of modern “amateur” performances of medieval drama, some of them still active, and others recorded in modern media such as film and video. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Medieval drama came from the life of its many communities—our records of it are largely civic-based (see REED), and even when it was performed by acting troupes those productions were extraordinarily responsive to the occasional performance conditions they encountered in the streets, in great halls, or in the open air—and there is a long tradition of modern “amateur” performances of medieval drama, some of them still active, and others recorded in modern media such as film and video. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Cropped-P1010315.jpg|thumb|700x700px|The Lord Baltimore’s Production of the N-Town “Massacre of the Innocents/ Death of Herod”]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Cropped-P1010315.jpg|thumb|700x700px|The Lord Baltimore’s Production of the N-Town “Massacre of the Innocents/ Death of Herod” <ins style="font-weight: bold; text-decoration: none;">as performed on June 6, 2015, Festival of Early Drama at the University of Toronto. </ins>]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Today the fact that virtually everyone now carries a smartphone video camera on their person makes it enticingly possible not just to mount such amateur performances, but to preserve and disseminate them as well.<br></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Today the fact that virtually everyone now carries a smartphone video camera on their person makes it enticingly possible not just to mount such amateur performances, but to preserve and disseminate them as well.<br></div></td></tr>
</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28508&oldid=prevMariaHorne at 20:35, 3 April 20182018-04-03T20:35:27Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<del style="font-weight: bold; text-decoration: none;">733x733px</del>|left]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<ins style="font-weight: bold; text-decoration: none;">622x622px</ins>|left]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What’s On for Today and Why? ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== What’s On for Today and Why? ===</div></td></tr>
</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28507&oldid=prevMariaHorne at 20:34, 3 April 20182018-04-03T20:34:26Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<del style="font-weight: bold; text-decoration: none;">713x713px</del>|left]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<ins style="font-weight: bold; text-decoration: none;">733x733px</ins>|left]]</div></td></tr>
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</table>MariaHornehttps://folgerpedia.folger.edu/_mw/index.php?title=Performing_Medieval_Drama:_Audiences,_Communities,_and_Adaptations&diff=28506&oldid=prevMariaHorne at 20:33, 3 April 20182018-04-03T20:33:44Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Lesson Plan 10: Adaptations of medieval drama ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<del style="font-weight: bold; text-decoration: none;">623x623px</del>|left]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:SpeedYorkRoute.jpg|thumb|''The York Mystery Play'' by Eileen White, 1984, published by the Yorkshire Architectural and York Archaeological Society. Image supplied from Mystery Play Archive, National Centre for Early Music, York, England. Page 21 shows the route through York, and names the playing stations of the performance on ''Corpus Christi'' day 1569.” |<ins style="font-weight: bold; text-decoration: none;">713x713px</ins>|left]]</div></td></tr>
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</table>MariaHorne