| Sponsor: | Medieval English Theatre / Records of Early English Drama |
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| Organisers: | Philip Butterworth, Institute for Medieval Studies, University of Leeds
Sally-Beth MacLean, Records of Early English Drama, University of Toronto, Downtown |
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| Moderator/Chair: | Alexandra F. Johnston, Records of Early English Drama, University of Toronto, Downtown |
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| Paper 1008-a | Travelling Tales: Fergus's Ethiopian Cousin and Some Others
(Language: English)
Elizabeth M. S. Baldwin, University of Victoria, British Columbia
Index terms: Performance Arts - General, Performance Arts - Drama |
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| Paper 1008-b | Tudor Drama and the Arts of Resistance
(Language: English)
Greg Walker, Department of English Literature, University of Edinburgh
Index terms: Performance Arts - General, Performance Arts - Drama |
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| Paper 1008-c | Drummond and Drama
(Language: English)
John J. McGavin, School of Humanities, University of Southampton
Index terms: Performance Arts - General, Performance Arts - Drama |
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| Abstract | Paper -a:
Ethiopia has been a Christian country since the 4th century and it has a rich indigenous tradition of ecclesiastical art. The wall-paintings in the monasteries of Lake Tana include many illustrations of biblical episodes. Illustrations of the burial of the Virgin include the 'Fergus' episode missing from the York cycle that may offer some new light on this incident.
Paper -b:
This paper will examine the interlude and urban cycle drama performed in the reign of Henry VIII in the light of the work of the political anthropologist James C. Scott, whose models of 'the hidden transcript' and 'everyday forms of resistance' offer a potentially helpful way into understanding the political roles of dramatic production and performance of the period.
Paper -c:
Sir William Drummond of Hawthornden is mostly known as the person to whom Ben Jonson confided his opinions. However, he had first-hand experience of continental drama, was an avid excerptor from English plays, and after his reading of drama had apparently waned, was involved in creating the pageants for the 1633 visit of Charles I to Scotland. His dramatic interests therefore represent a version both of cultural mobility and the role of memory, two topics which Barbara Palmer urged critics of early drama to consider.
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