Passion Plays in the United Kingdom have had a long and complex history involving faith and devotion, civic pageantry, antisemitism, religious and political censorship, large-scale revival and historical re-enactments. The origin and history of Passion Play in the UK differs substantially from Passion Plays in Europe, South and North America, Australia and other parts of the world.
One of the earliest pieces of theatre in Britain was the Quem Quaeritis: four lines spoken by two choirs addressing each other in a dramatic form. This started the development of liturgical drama which combined education with entertainment within the church. It was intended not for evangelism, but as an aid to devotion. According to Lynette Muir:
The liturgical and patristic forms which dominated the first church plays were challenged by the great cultural and spiritual renaissance of the twelfth century with its stress on the primacy of the individual. Theologically, the Church, which had been focussed on crusades against the threat to Christianity from pagan and heretical groups, began to pay more attention to the spiritual needs of its own flock at home. [1]
Emerging out of and developing alongside liturgical drama, was the religious drama of the Corpus Christi plays which moved outside the church. [2] Thus developed the large-scale Mystery Plays that were performed by city guilds during the Corpus Christi or Midsummer festival each year until the middle of the sixteenth-century. [3]
As part of these Mystery Plays, public performances of the Passion provided a mixture of education and entertainment, but more importantly, they became significant acts of civic pride and public devotion. [4] The depth of public devotion, however, is questioned by suggestions that the behaviour of actors and spectators during play performances was often more suited to the carnival than to devout contemplation. [5]
The Mystery Plays were, at the height of their popularity, entire cycles of individual plays which involved the entire city. City guilds were responsible for different plays in the cycle. [6] In York, for example, the Flood was performed by the Fishers and Mariners, the Slaughter of the Innocents by the Girdlers and Nailers, the Crucifixion by the Butchers, [7] the Resurrection by the Carpenters and the Last Judgement by the Mercers. Costumes and props were also used by the guilds and often included a gilded face for God in creation plays, a donkey outfit for the Balaam plays, fake blood for the crucifixion and a flaming hell mouth with fireworks for the increasingly dramatic Last Judgement as the world was destroyed in a flames and sparks.
Other special effects were created by the pageant wagon itself which was offered at its simplest a raised stage and at its most sophisticated a two-story structure which had machinery to raise and lower angels and also a trapdoor that opened up to hell. [8] This hell mouth became an increasingly spectacular construct and engravings show a gaping, monstrous mouth spurting flames and engulfing men and women who were bound for hell.
According to Beadle and King, the guilds’ involvement indicated the sanctity of everyday life: a recognition that their labour and produce came from God and should be used to honour God. Furthermore, Mystery Plays offered spectators a spiritual experience as well as entertainment. [9] As Dee Dyas (1997) puts it, the audience were ‘vital players in this epic drama, for the mystery cycles, the miracles or saint’s plays and the moralities were all designed to warn and win souls’ [10]
The Mystery Plays were highly popular performances that brought the city’s citizens together, as well as attracting visitors from surrounding cities and towns. [11] Royal and noble visitors to cities which performed Mystery Plays had special plays put on for them, such as those put on by the guilds of Coventry for Margaret of Anjou in 1457 (who was reportedly disappointed that she missed the Draper's Doomsday play due to lack of daylight), Richard III in 1485 (less than three months before his death), and Henry VIII in 1493 (King and Davidson, 2000). Mystery Plays thus promoted civic prestige and economy, adding to the reputation of the town as well as the honour of God in what Dyas (1997) terms a ‘neat blend of religious fervour and burgeoning civic pride. [12]
Public performances of Passion Plays lasted from the fourteenth century to the middle of the sixteenth century, with a few examples into the seventeenth century. There is a reference to playing Christ in a medieval Passion Play is found in a Good Friday sermon: [13]
When the game was over, all the players talked among themselves and considered playing again; and one of them said, "Who shall be Christ?" The others said, "He who played today, since he played well." [14]
According to Helen Cooper, performances of the Mystery Cycle ‘…continued well into Elizabeth’s reign, and in places further from the centre of government – Cornwall, where the plays were in Cornish; Kendal; Kilkenny – comparable plays are recorded into the seventeenth century'. [15]
Shakespeare expects his audience to be familiar with characters and events in the Mystery Plays [16] and alludes to the Passion Plays he most probably would have seen in nearby Coventry. [17] The majority of Shakespeare's plays contain biblical references, [18] and some of those are specific references to the events and characters contained in Passion Plays. [19]
For example, in Macbeth and Hamlet, there is reference to Pontius Pilate who famously washed his hands to signify his innocence of the death of Christ. Both Lady Macbeth and Macbeth talk of washing blood from their hands. As Macbeth puts it:
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine,
Making the green one red. (Act 2 Scene 2)
There are also references to the crucifixion, staged with copious amounts of stage blood in medieval Passion Plays, in Macbeth. A war-weary Captain gives an account of the bravery of Macbeth and Banquo during a battle referring to 'another Golgotha':
If I say sooth, I must report they were
As cannons overcharged with double cracks, So they doubly redoubled strokes upon the foe. Except they meant to bathe in reeking wounds, Or memorize another Golgotha, I cannot tell—
But I am faint, my gashes cry for help. (Act 2 Scene 1)
During the Reformation, the Passion Plays and Mystery Cycles were suppressed due to their perceived Catholic influences (they were performed during the Catholic Corpus Christi feast which celebrated the mass and paraded the elevated host through the city). [20] There was also considerable Protestant hostility to the plays’ depictions of God which led to numerous examples of Protestant revisions and revised performances. [21] According to Lynette Muir (1995) the plays were abandoned and banned by the end of the 16th century as much 'on political as on dogmatic grounds' p. 162. There is also evidence to suggest that the Mystery Plays had become far too expensive and difficult for the struggling city guilds to continue to produce. [22]
Rosemary Woolf (1972) argues that the suppression of the Passion Plays and Mystery Cycles was a good thing and looks to the development of the Passion Plays in France which gathered irrelevant and comic elaborations over the years:
The example of French drama and the rare instances of late rewriting in England suggest that, had the cycles continued to have been revised until the time of their suppression, it would have been to their literary detriment…In France the Passions in the course of successive revisions became overblown: more and more invented incident was added to them, more ornate elaborations and irrelevant comic diversions’. [23]
Eventually, in 1642 all theatre was banned with the suppression of the playhouses by a Puritan Parliament. With the Restoration, theatres opened again in 1660, this time with women permitted to perform on the stage. However, religion and politics were heavily censored for the next few hundred years in England and no Passion Play was performed publicly during this time. [24]
Passion Plays are biblical dramas that portray the Easter story. They depict the events of Jesus Christ's trial, death and resurrection and may also extend to the events of his life, works and miracles. Today they are performed at Easter and often take place in public spaces such as city centres and town squares, many of them as free, community-led performances.
Popular biblical dramas of the Middle Ages - including liturgical drama, Passion Plays and the Corpus Christi cycles or Mystery Play - are the originators of modern Passion Plays. The Mystery Plays were epic play cycles were large-scale productions financed and produced by medieval guilds for the glory of God and the honour of their city. [25] The most well-known took place in York, Coventry and Chester. [26]
This dramatic heritage is acknowledged by modern Passion Plays. [27] The similarities between contemporary community-led, Bible focused plays from the Middle Ages and contemporary Mystery Plays and Passion Plays are recognised by artists involved in the plays, journalists and academics. [28]
The revival of Passion Plays began with the revival of the York Mystery Plays in 1951 as part of the Festival of Britain, the Chester Mystery Plays in the 1970s and the York and Towneley Plays as part of the Edinburgh Festival in 1977. [29] Some productions of the Mystery Plays, especially those in the 70s, recreated not only the cyclic nature of the plays, but also processional staging along medieval festival routes on wagons designed according to existing descriptions of their medieval counterparts. [30]
“The name derives from the idea of Jesus’ tomb being revealed to be empty on Easter Sunday and Jesus revealing himself to Mary and the Disciples. It also refers to Revealing the true story of Easter, as for many, Easter is more about chocolate and Easter bunnies." [38]
www.hornchurchpp.co.uk provides details on the event and photos of previous performances.
The Passion Trust supports the resurgence of Passion Plays in the United Kingdom through resourcing, networking, advocating and financing new and existing plays. Established in 2011, its vision is to energise the growing number of Passion Plays taking place in the UK. [68]
Mystery plays and miracle plays are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song. They told of subjects such as the Creation, Adam and Eve, the murder of Abel, and the Last Judgment. Often they were performed together in cycles which could last for days. The name derives from mystery used in its sense of miracle, but an occasionally quoted derivation is from ministerium, meaning craft, and so the 'mysteries' or plays performed by the craft guilds.
Good Friday is a Christian holy day observing the crucifixion of Jesus and his death at Calvary. It is observed during Holy Week as part of the Paschal Triduum. It is also known as Black Friday, Holy Friday, Great Friday, Good Friday of the Passion of the Lord,Great and Holy Friday.
The Passion is the short final period before the death of Jesus, described in the four canonical gospels. It is commemorated in Christianity every year during Holy Week.
Maundy Thursday or Holy Thursday, among other names, is the day during Holy Week that commemorates the Washing of the Feet (Maundy) and Last Supper of Jesus Christ with the Apostles, as described in the canonical gospels.
The Passion Play or Easter pageant is a dramatic presentation depicting the Passion of Jesus Christ: his trial, suffering and death. The viewing of and participation in Passion Plays is a traditional part of Lent in several Christian denominations, particularly in the Catholic and Evangelical traditions; as such Passion Plays are often ecumenical Christian productions.
Holy Week is the most sacred week in the liturgical year in Christianity. For all Christian traditions, it is a moveable observance. In Eastern Christianity, which also calls it Great Week, it is the week following Great Lent and Lazarus Saturday, starting on the evening of Palm Sunday and concluding on the evening of Great Saturday. In Western Christianity, Holy Week is the sixth and last week of Lent, beginning with Palm Sunday and concluding on Holy Saturday.
The Oberammergau Passion Play is a passion play that has been performed every 10 years from 1634 to 1674 and each decadal year since 1680 by the inhabitants of the village of Oberammergau, Bavaria, Germany. It was written by Othmar Weis, J A Daisenberger, Otto Huber, Christian Stuckl, Rochus Dedler, Eugen Papst, Marcus Zwink, Ingrid H Shafer, and the inhabitants of Oberammergau, with music by Dedler. Since its first production it has been performed on open-air stages in the village. The text of the play is a composite of four distinct manuscripts dating from the 15th and 16th centuries.
The Chester Mystery Plays is a cycle of mystery plays originating in the city of Chester, England and dating back to at least the early part of the 15th century.
The N-Town Plays are a cycle of 42 medieval Mystery plays from between 1450 and 1500.
Medieval theatre encompasses theatrical in the period between the fall of the Western Roman Empire in the 5th century and the beginning of the Renaissance in approximately the 15th century. The category of "medieval theatre" is vast, covering dramatic performance in Europe over a thousand-year period. A broad spectrum of genres needs to be considered, including mystery plays, morality plays, farces and masques. The themes were almost always religious. The most famous examples are the English cycle dramas, the York Mystery Plays, the Chester Mystery Plays, the Wakefield Mystery Plays, and the N-Town Plays, as well as the morality play known as Everyman. One of the first surviving secular plays in English is The Interlude of the Student and the Girl.
The York Mystery Plays, more properly the York Corpus Christi Plays, are a Middle English cycle of 48 mystery plays or pageants covering sacred history from the creation to the Last Judgment. They were traditionally presented on the feast day of Corpus Christi and were performed in the city of York, from the mid-fourteenth century until their suppression in 1569. The plays are one of four virtually complete surviving English mystery play cycles, along with the Chester Mystery Plays, the Towneley/Wakefield plays and the N-Town plays. Two long, composite, and late mystery pageants have survived from the Coventry cycle and there are records and fragments from other similar productions that took place elsewhere. A manuscript of the plays, probably dating from between 1463 and 1477, is still intact and stored at the British Library.
Easter is one of the most significant events in the religious and social calendar, celebrated heavily in the European country of Malta.
PLS, or Poculi Ludique Societas, the Medieval & Renaissance Players of Toronto, sponsors productions of early plays, from the beginnings of medieval drama to as late as the middle of the seventeenth century.
Christ Carrying the Cross on his way to his crucifixion is an episode included in the Gospel of John, and a very common subject in art, especially in the fourteen Stations of the Cross, sets of which are now found in almost all Roman Catholic churches, as well as in many Lutheran churches and Anglican churches. However, the subject occurs in many other contexts, including single works and cycles of the Life of Christ or the Passion of Christ. Alternative names include the Procession to Calvary, Road to Calvary and Way to Calvary, Calvary or Golgotha being the site of the crucifixion outside Jerusalem. The actual route taken is defined by tradition as the Via Dolorosa in Jerusalem, although the specific path of this route has varied over the centuries and continues to be the subject of debate.
A Nativity play or Christmas pageant is a play which recounts the story of the Nativity of Jesus. It is usually performed at Christmas, the feast of the Nativity.
Holy Week is a significant religious observance in the Philippines for the Catholic majority, the Iglesia Filipina Independiente or the Philippine Independent Church, and most Protestant groups. One of the few majority Christian countries in Asia, Catholics make up 78.8 percent of the country's population, and the Church is one of the country's dominant sociopolitical forces.
Scenes from the Passion of Christ is an oil painting on a panel of Baltic oak, painted c.1470 by German-born Early Netherlandish painter Hans Memling. The painting shows 23 vignettes of the Life of Christ combined in one narrative composition without a central dominating scene: 19 episodes from the Passion of Christ, the Resurrection, and three later appearances of the risen Christ. The painting was commissioned by Tommaso Portinari, an Italian banker based in Bruges, who is depicted in a donor portrait kneeling and praying in the lower left corner, with his wife, Maria Baroncelli, in a similar attitude in the lower right corner.
The Preston Passion was a live performance televised by BBC One on 6 April 2012 from Preston, Lancashire, England, retelling the Gospel accounts of the Crucifixion of Jesus through a filter of local history. Organized by the Preston Guild, the performance utilized professional performers, local volunteers and audience members.
Holy Week in Mexico is an important religious observance as well as important vacation period. It is preceded by several observances such as Lent and Carnival, as well as an observance of a day dedicated to the Virgin of the Sorrows, as well as a Mass marking the abandonment of Jesus by the disciples. Holy Week proper begins on Palm Sunday, with the palms used on this day often woven into intricate designs. In many places processions, Masses and other observances can happen all week, but are most common on Maundy Thursday, Good Friday, Holy Saturday and Easter Sunday, with just about every community marking the crucifixion of Jesus in some way on Good Friday. Holy Saturday is marked by the Burning of Judas, especially in the center and south of the country, with Easter Sunday usually marked by a Mass as well as the ringing of church bells. Mexico's Holy Week traditions are mostly based on those from Spain, brought over with the Spanish conquest of the Aztec Empire, but observances have developed variations in different parts of the country due to the evangelization process in the colonial period and indigenous influences. Several locations have notable observances related to Holy Week including Iztapalapa in Mexico City, Taxco, San Miguel de Allende and San Luis Potosí.
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