|
liturgical drama| A medieval church representation of Bible and other stories. It originated, probably in France, in a 10th-century trope to the Introit for Easter Day, which takes the form of a dialogue for the Angel and the Marys at the sepulchre. In the second half of the century it was transferred to Matins. The music was originally an extension of plainsong but in course of time came to consist of original compositions. Later subjects treated include the Walk to Emmaus, the Nativity, Epiphany, the Massacre of the Innocents, Old Testament stories, and the lives of the saints. The texts were generally in Latin but sometimes also in the vernacular. |
How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
?Sign in  |
|---|
|
|
|
| ? Mentioned in | | ? References in periodicals archive |
|---|
| longtime professor at Munich and famous for his earlier work on covenant in the Old Testament, believes that Isaiah 40-55 should be classified as a liturgical drama, which was performed for a largely nonliterary public. He provides clear, comprehensive introductions to mysteries, moralities, interludes, liturgical drama, and early classically-influenced comedies and tragedies, and brief but solid overviews of the literary careers of Henry Medwall, John Skelton, John Heywood, John Bale, Sir David Lindsay, Lyly, Kyd, Marlowe, Greene, and Peele. Throughout each chapter, Wilson-Kastner reinforces the themes of hope and identity--both that of the individual and the group--as seen in and established through the liturgical drama. |