Acting (Up) in the Middle Ages: Performance, Theater, Performance Literacy
- What does medieval theater borrow from the Imitatio Christi in your opinion?
- Does Njus give the visual arts enough credit in his analysis of Elisabeth of Spalbeek and medieval performance?
- Discuss Elisabeth as a living Veronica.
- What is the relationship of the audience to Elisabeth? Does this relationship support Stevenson’s ideas?
- Does one gaze at a diptych in the same way as one gazes at a medieval performance?
- Do you consider Elisabeth of Spalbeek’s trances a subversive alternative for devout women?
- Does the anthropological-art historical bifocal lens reveal the “real” Elisabeth? What was distinctive about Elisabeth compared to other mystics of her time?
- Discuss the rebellious nature of Elisabeth’s dances as defined by Rodgers and Ziegler.
- “Performance is twice-behaved behavior.” Discuss. Cf. The dance is the dancer….
- Do you feel that a phenomenological approach to medieval theater is useful?
- How does performance literacy operate in the case of a vernacular play and in viewing the Pavement Hours?
- Do you believe that images in a manuscript foreground the reader’s material presence in the devotional text?
- In what way does the face of Christ in the Pavement Hours offer a subversive interaction for the reader?