The Narrator, the Expositor, and the Prompter in European Medieval Theatre

360 Pages·2007·19.364 MB·English

by  Philip Butterworth

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T N , E ,
HE ARRATOR THE XPOSITOR
P
AND THE ROMPTER
E M T
IN UROPEAN EDIEVAL HEATRE
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MEDIEVAL TEXTS AND CULTURES OF NORTHERN EUROPE
Editorial Board under the auspices of the
Centre for Medieval Studies, University of Hull
Wendy Scase, Chair, University of Birmingham
Adrian P. Tudor, Secretary, University of Hull
John H. Arnold, Birkbeck College, University of London
Julia Barrow, University of Nottingham
Lesley A. Coote, University of Hull
David Crouch, University of Hull
Alan Deighton, University of Hull
Alan Hindley, University of Hull
Judith Jesch, University of Nottingham
Advisory Board
Andrew Ayton, University of Hull
David Bagchi, University of Hull
Elaine C. Block, Misericordia International
Keith Busby, University of Wisconsin–Madison
Olle Ferm, Stockholm University
Wim Hüsken, Stedelijke Musea Mechelen
Gerhard Jaritz, Central European University, Budapest
Peter Meredith, University of Leeds
Veronica O’Mara,University of Hull
Nigel F. Palmer, St Edmund Hall, Oxford
Brigitte Schludermann, University of Hull
Michel Zink, Collège de France, Membre de l’Institut
VOLUME 17
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T N , E ,
HE ARRATOR THE XPOSITOR
P
AND THE ROMPTER
E M T
IN UROPEAN EDIEVAL HEATRE
Edited by
Philip Butterworth
H
F
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British Library Cataloguing in Publication Data
The narrator, the expositor, and the prompter in European medieval theatre. - (Medieval texts
and cultures of Northern Europe ; v. 17)
1. Theater - History - Medieval, 500-1500 2. Drama - Technique - History - To 1500
I. Butterworth, Philip
792'.0902
ISBN-13: 9782503525792
© 2007, Brepols Publishers n.v., Turnhout, Belgium
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of the publisher.
D/2007/0095/86
ISBN: 978-2-503-52579-2
Printed in the E.U. on acid-free paper
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This book is dedicated to the memory of
Lynette R. Muir, friend and colleague
of contributors to this volume.
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CONTENTS
Acknowledgements ix
List of Illustrations x
Contributors xiii
Introduction 1
PHILIP BUTTERWORTH
‘Every Man, I wyll go with thee and be thy gyde’: 11
Narrators, Expositors, and Prompters in the Drama of the Low Countries
ELSA STRIETMAN
Expositor Figures in Some Cycle Plays in French and German 45
PETER HAPPÉ
Directing the Gaze: Expository Modes in Late Medieval Italian Plays 69
NERIDA NEWBIGIN
The Narrator as Everyone’s Voice: 93
Ecerinis
A Project to Produce the of Albertino Mussato
JOHN MCKINNELL
Unwinding Stories: Challenges of the Expositor 109
in Early Modern Polish Popular Theatre
JOLANTA RZEGOCKA
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Puppets, Minstrels, Kings, and Shepherds: 129
Expository Narrators in Early Spanish Theatre
MAX HARRIS
Masqueing the Moral Expositor in the Macro Plays 161
MILLA COZART RIGGIO
Prompting the Action: The Prologue, the Messenger, and the Fool 191
MARIO LONGTIN
‘Perchance you wonder at this show’: Dramaturgical Machinery 211
in A Midsummer Night’s Dream and ‘Pyramus and Thisbe’
TOM PETTITT
‘Ancient [and Modern] Gower’: Presenting Shakespeare’s Pericles 235
CHRISTINE DYMKOWSKI
‘La prédication par personnages’? Expositor Figures in the Moralités 265
ALAN HINDLEY
Establishing an Expositor’s Role: 289
Contemplacio and the N.town Manuscript
PETER MEREDITH
Brought to Book: Chester’s Expositor and his Kin 307
DAVID MILLS
Richard Carew’s ‘Ordinary’: The First English Director 327
PHILIP BUTTERWORTH
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ACKNOWLEDGEMENTS
From the outset,thisproposed volume hasreceived only positive responses
from the Editorial Board at Brepols. Similarly, the production team at
Brepols has been most conscientious and supportive at all times. I would
particularly like to thank Dr Simon Forde and Dr Adrian Tudor for their patient
guidance of the project.DrAlan Hindley,oneof the contributors to this volume,
has also been very helpful in liaising with the Editorial Board during early stages
of the volume’s development. Latterly, Deborah A. Oosterhouse has brought her
highly developed skills to the final stages of production and Sébastien Regniers has
thoughtfully and carefully administered final stage production details. Finally, I
would like to thank the contributors for their work. They have made my task a
straightforward and enjoyable one. Thank you all.
Philip Butterworth
Kirkburton
March 2007
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ILLUSTRATIONS
Elsa Strietman
Figure 1, p. 13. P. Bruegel the Younger. Detail of Fair with a play and a pro-
cession; behind the curtain the prompter/director holding a text is visible.
Koninklijk Museum voor Schone Kunsten, Brussels, nr. 6870. By permission
of the Koninklijk Museum, Brussels.
Figure 2, p. 32. Mercury and Fortune with Experience and Labour. After a print
by Andrea Alciatus in W. Silvius, Spelen van Sinne, Antwerpen 1561
(Antwerpen: M. W. Silvius, 1562). By permission of the Rijksmuseum,
Amsterdam.
Nerida Newbigin
Figure 3,p.76.The ‘angelocheannunzia’,titlepage ofthe first edition of La festa
di sancta Eufroxina, printed in Florence by Bartolomeo de’ Libri in the last
decade of the fifteenth century, Milan, BibliotecaTrivulziana,Triv.Inc. C 278,
fol. 1r. The lower woodcut represents the body of Eufrosina/Friar Smeraldo,
with her father, the Abbot, and fellow monks gathered around. By permission
of the Ministero per i Beni e le Attività Culturali.
Figure 4, p. 84. Woodcut ofFrottoladun padrechehaueua dua figliuoli, un buono
chiamato Benedetto, & laltro cattivo chiamato Antonio, without typographical
details, but Florence, early sixteenth century. Florence, Biblioteca Nazionale
Centrale, E.6.5.3.I.19, fol. 1r. By permission of the Ministero per i Beni e le
Attività Culturali.
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