Presentation on theme: "April 2 nd, 2005 at 3:15PM Hood College Conference for Medieval Studies April 15 th, 2005 at 4:00PM Outside Breidenbaugh Hall “TONIGHT HE’LL BE SLEEPING."— Presentation transcript:
April 2 nd, 2005 at 3:15PM Hood College Conference for Medieval Studies April 15 th, 2005 at 4:00PM Outside Breidenbaugh Hall “TONIGHT HE’LL BE SLEEPING WITH THE FISHES…” The Cast Don Pilate – Mike Pollack + Annas – Cara Beahm *, Sara Fry # Calaphas – Brian Mueller $, Candice Joseph $ Jesus – Sam Martin * Soldier 1 – Greg Fulton + Soldier 2 – Gabby Garncarz * Soldier 3 – Ashley Middlebrook * Soldier 4 – Laura Rogers $ Soldiers – Casey Clifford # Farrell Curran # Dulcy Gregory # Brittany Tuosto # Mary – Siobhan Young + Band – Jon Curtiss + Conor Lynch Miles Davis Reinhart Film Crew – Stacey Krajewski + Kathy Delauney $ Production Groups Directors * Scenery/Staging # Props/Costumes $ Translation + Past Productions - A Hillbilly Wakefield Noah (1999) - A Jazz Age Allegory Mankind (2001) - A 70’s After-school-special Wit and Science (2003) The Gettysburg College Medieval Drama Class presents : The York Cycle Crucifixion
What is Cycle Drama? Cycle Drama is a play “consisting of a number of episodes or ‘pageants’ drawn from sacred history. As the word ‘cycle’ suggests, these dramas were comprehensive in scope, usually extending from the Fall of Lucifer to the Last Judgment” (Bevington 227).* Who was the York Realist? The York Realist, similar to the Wakefield Master, was responsible for bringing humor and realism to The Crucifixion of Christ. In his representation of Christ’s tormentors, the York Realist adds a new comic and humanistic dimension to the production. He does this by bringing forth or even exaggerating the difficulty of the execution, as can be seen in our rendition of the York Cycle Crucifixion. How does the York Realist employ the “Comedy of Evil” to illustrate the central theme that Christ’s tormentors “know not what they do”? The York Realist employs the “Comedy of Evil” to illustrate the central theme that Christ’s tormentors “know not what they do.” By focusing specifically on the incompetence and petty complaints of the soldiers, the audience sees their inability to understand the significance of the larger issue at hand. In other words, it is ironic that the soldiers are loudly complaining whereas Christ, who undergoes the true pain, remains compassionate until his death. A Riddle… Students: What do you get when you ask the York Cycle to perform the Crucifixion of Christ? Bevington: The Pinneres and Painters Guild! Actually, the Pinneres and Painters Guild did perform the Crucifixion of Christ in the York Cycle. The irony and subsequent humor here is that the “pinners” were the people who made the pegs for wood-joining. As you will see in this production, the cross (most likely made by the pinners) is set incorrectly, which causes several comical and entertaining problems for the soldiers as they attempt to attach Jesus to the cross. * Bevington, David, ed. Medieval Drama. Boston: Houghton-Mifflin, “IT’S NOT PERSONAL, IT’S BUSINESS…” In the original play, a group of benighted, selfish, and dim thugs has been assigned the task of executing an innocent man for pay; their befuddled actions and their glaringly ignorant words, especially in contrast to those of Jesus, are crafted to illustrate the theme summed up in Christ’s words in line 261 of the original play “What they wirke wotte they noght” (Bevington 578).* The York Realist takes great liberties in developing these soldiers into buffoons who embody this concept of willful, sinful ignorance, while at the same time, in contrast, he confines Christ’s lines to “meditative language taken from the Seven Last Words of the Gospel narratives and from the liturgy for Holy Week” (Bevington 569).* The York Realist translated this central concept into a comedic idiom that would amuse, reach, and teach an audience of his contemporaries. We have attempted to do the same: We have left the Christ character and his words alone, translating these parts of the script as literally as possible; anyone familiar with the Middle English play or the Gospel narratives should recognize this Christ. The soldiers we have, like the York Realist, translated into a dark comedic idiom familiar to any contemporary audience with knowledge of The Godfather, Goodfellas, or The Sopranos. Their words, their dialects, and their actions are meant to contrast with those of Christ, and underscore the chilling dark humor of the York Realist’s conception of sinners in every place and time who participate in the Crucifixion of Christ through their selfish and damnable treatment of their fellow man.