Wir haben ja geschrieben, dass jeder Wochentag einer Gottheit zugeordnet sein soll, der Schalttag aber der Tag wäre, an dem die böse Gottheit des Gottesstaates frei herumläuft und besänftigt/gebändigt werden muss. Ich hatte die Idee, dass das in einem Mysterienspiel erfolgen muss: Die Guntianer stellen quasi ihre Flucht aus dem Gottesstaat oder eine stark ritualisierte und mythische Version davon nach und bannen damit die böse Gottheit.
Das ist eine echt gute Idee :-). Wie stellst du dir das genau vor? Wird jedes Jahr das gleiche aufgeführt oder variieren die Aufführungen von Jahr zu Jahr? Dürfen auch Frauen als Darsteller mitwirken oder ist das ganze den Männern vorbehalten?
Und wie Requisitenreich wird das ganze sein? Nur mit einer albernen Maske wie die "ollen" Griechen oder richtig mit Kostümen, Gegenständen und und und?
Si philosopharis, bene est. (...) Sine hoc aeger est animus. -- Seneca, Epistulae Morales ad Lucilium 15,1
Ich denke, der Aufwand wird von Mal zu Mal zunehmen. Es findet ja nur in den Schaltjahren statt und anfangs wird man sich auf eine sachliche Darstellung mit Masken beschränken. Aber im Laufe der Jahre wird das ein Rieeesenbrimborium mit Kostümen und leichtbekleideten Mädchen, die den Schneesturm symbolisieren sollen.
Das würde sehr passen. Und mit zunehmendem Aufwand kommen dann vielleicht auch mehr Freiheiten, sodass dann in 100 oder 200 Jahren sowas wie die Dionysien im alten Griechenland draus entstehen könnte... Aber das ist Zukunftsmusik, erstmal das aktuelle ;-).
Wir müssten uns wohl noch einigen, welche Szenen genau dort aufgeführt würden und welche Götter ihren Auftritt haben.
Guntius muss sicher vorkommen. Auch die Gottheit, die ihn führt - wie hieß die nochmal? Hatten wir da schon einen Namen? Wir könnten auch Alva auftreten lassen, quasi als Vertreterin der neuen Heimat, in der Guntia entsteht. Und der böse Totengott darf natürlich auch nicht fehlen ;-)
Si philosopharis, bene est. (...) Sine hoc aeger est animus. -- Seneca, Epistulae Morales ad Lucilium 15,1
ZitatDas würde sehr passen. Und mit zunehmendem Aufwand kommen dann vielleicht auch mehr Freiheiten, sodass dann in 100 oder 200 Jahren sowas wie die Dionysien im alten Griechenland draus entstehen könnte... Aber das ist Zukunftsmusik, erstmal das aktuelle ;-).
Genau.
ZitatWir müssten uns wohl noch einigen, welche Szenen genau dort aufgeführt würden und welche Götter ihren Auftritt haben.
Dafür müssen wir uns erst die Geschichte selbst ausdenken.
ZitatGuntius muss sicher vorkommen. Auch die Gottheit, die ihn führt - wie hieß die nochmal? Hatten wir da schon einen Namen? Wir könnten auch Alva auftreten lassen, quasi als Vertreterin der neuen Heimat, in der Guntia entsteht. Und der böse Totengott darf natürlich auch nicht fehlen ;-)
Genau. Und nein, wir hatten noch keinen Namen - aber es sollte der Hauptgott sein.
Hm, ehe wir weiterdenken können, müssen wir wohl den Gründungsmythos ausformulieren und die Götterriege festlegen. Ich hab Samstag/Sonntag endlich mal wieder frei, ich überlege mir was :-).
Si philosopharis, bene est. (...) Sine hoc aeger est animus. -- Seneca, Epistulae Morales ad Lucilium 15,1
Nichts? Nur, dass man dann vielleicht vom Inhalt des einfachen Nacherzählens "Guntia besiegt Nescia" weg müsste, hin zu einem "Wir tun das, damit Nescia wegbleibt".
Si philosopharis, bene est. (...) Sine hoc aeger est animus. -- Seneca, Epistulae Morales ad Lucilium 15,1
Beides könnte Bestandteil der Mysterienspiele sein - die Nacherzählung "Guntia besiegt Nescia" ist Inhalt und "Wir tun das, damit Nescia wegbleibt" ist Anlass.
Ich kopiere mal Ausschnitte aus meinen Mitschriften zur Geschichte des Theaters, bitte nicht über krudes Deutsch-Englisch-Gemische wundern:
Wichtig: Auch Verfügbarkeit von Räumlichkeit, Licht, Art der Architektur prägt Theaterstücke
The history of drama: 1. Drama is written to be performed --> spoken language 2. Actors 3. Costumes are significant and may say something 4. Theatrical architecture - playwrites have certain stages in mind when writing ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Beginnings: Greek theatre: Theatre, drama, tragedy, comedy - scene, episode, chorus, character, mime dialogue - The language of theatre was defined by the Greeks 6th Century BC: Athens introduces the Dionysian Spring Festival --> welcome the new season 534 BC: Thespis? 508 BC: first akudated record of the Dionysia accompanied by tragedies Aeschylus (525-456) The Persians --> people learn about history (472 BC), Oresteia (Agamemnon, Choephoroi, Eumenides 458 BC) --> transition from matriarchal to patriarchal society --> Plays can teach history and can be used to discuss moral issues in a society Sophocles (497-406 BC): The Oedipus Cycle (Oedipus Rex, Oedipus at Colonus, Antigone, 425 and after) --> moral conflicts in drama Euripides (480-406 BC): Medea (431 BC), Trojan Women (414 BC) 458 BC: Skene, inclusion of "sartyr plays" (three tragedies plus one sartyr play) 486 BC: komoidia (comedy) Aristophanes (448-385 BC): The Birds (414 BC), Lysistrata (411 BC), the Frogs (405 BC) --> "make love, not war" the Greek version of it ;-) ==> adress issues of gender & critics on society Large Greek theatres to show those issues. ------------ Romans: Menander (342-291 BC) - Plautus - Terence Seneca (4 BC-65 AD): Medea, Troades, Agamemnon --> they adopted Greek theatre, so that huge theatres were build everywhere in the Greek/Roman world theatres = objects of prestige (Romans build huge theatres in North Africa) - everywhere the Romans went - theatres followed ==> that's how we get to Britain :) Claudius conquers Britain, because he wanted a military success in order to get the title "Emperor" - the Celts were driven back to Scotland, behind Hadrian's Wall & to Wales --> they settled in Britain and... build theatres All the cities ending with"-ester" were founded by the Romans The audience sat in a half-circle around the stage, behind the stage there was a house for entrances, exits and for change of costumes --> structure had influence on plays Problem: which plays to perform in England? The plays were written in Greek/Latin and no one would translate them into Celtic language (thus, no one knows, what was performed and in what language) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ in 409, the last Roman legions rebelled against Constantin III and left England to fight in Italy for Rome New settlers: Angles, Saxons, Yutes founded new kingdoms (7), later vikings invaded (and settled) The Beginnings of Drama in Post-Roman times The Anglo-Saxon Tradition: The "Scop" (Widsith, Beowulf et. al.) --> heroic poetry in alliterated verse recited by a bard=scop (maybe with a harp) The Role of the Church: "Tropes", 10th ==> Britain was christianised BUT Latin was already forgotten - except by the priests!!! - Latin texts were copied in the monasters, but the monks only copied texts considered "worthy" (Lysistrata etc. would never be copied by a monk ;-) ) - censorship on what was copied (Seneca was copied, because his ideas were considered "protochristian") The other plays survived in Byzanthium (which was invaded by the Turks and finally wholly conquered), where Greek was spoken and did not reach Britain before the Renaissance: The Greek scholars weren't sponsered by the new rulers and took their manuscripts with them. They went to Italy and were sponsored, among others, by the Medici. The plays found their ways back to Britain. As the population didn't understand Latin and the priests wanted to bring on their message, they acted the whole thing out in Tropes (scenes from the life of Jesus): The oldest Trope (after the "Inroitus"), The Easter Trope (three women come to the grave of Jesus and find only an angel there) - the text was spoken in Latin, but as it was acted, people understood "Quem quaeritis in sepulcro, o christicolae? Jhesum Nazarenum crucifixum, o coelicolae? Non es hic, surrexit sicut praedixearat; ite nuntiate, quia surrexit de sepulcro." 10th century (that's the WHOLE Trope!) The Apostle-Szene: Peter and John visit the grave (12/13th century) The Stella-Scene introducing the Magi (with the presents) The Nativity-Scene (how Jesus was born) The "Propheta-Scene" (Jessaijas, Jeremias, Daniel, Moses et. al.) --> this one does relate to the Old Testament ==> something new, the extension of theatre in church!!!!! (ought to strenghten the belief) Thus, the church brings theatre back to Britain o.O - the church = the theatre churches of the time were just halls (without benches) and served as background for the scenes - the churches were used and build as symbolic stages: to walk from the entry to the altar = walk from Galilee to the Sepulchre, with Paradies and Hell at the right and at the left side of the church (Hell represented by an ugly mouth) [so that's what all the little stuff in the churches is for...] later: Morality Plays - full plays in contrast to the Tropes, e.g. "The Castle of Perseverance" - purpose to exemplify the life of everyone at the time Cast: Mankind, Belial, World, Good Angel, bad Angel, Seven deadly sins (wrath, greed, sloth, pride, lust, envy and gluttony), Virtues (Righteousness, Truth, Peace, Mercy), Death, God All sins are represented by an actor, "mankind" is one actor and is tempted by the evil - then "Mankind" dies and the four Virtues pray that he may go to heaven ==> theatre operates with costumes (and colors that represent different things) and "pyrotechnical effects" (pipes etc.) The morality plays ought not only educate, but entertain as well! - the play becomes a performance Even later: Mystery plays: Here a list of them: Cester Cycle (1375) - 24 scenes York Cycle (1378) - 48 scenes (most popular) Wakefield Cycle (1450) = "Towneley Cycle": The Wakefield Master, Secunda Pastorum Ludus Coventriae (1468) - 42 scenes They do not have a consecutive plot, but consist of scenes and came to us by the name of the place where they were performed or found Also written by monks and together with the morality plays, they are not written in Latin, but in Middle English The scenes were performed on religious holidays - they were performed on the steps (thus, in front) of the churchs, but there were too many people and not enough space, so that... (thatatatataaaaa) stages were builded on cards and pushed/pulled by people, while other people (only men) would perform scenes of the life of Jesus, later of the OT as well The cards were pushed around town, so that everyone could watch - again, costumes were essentially important - the stages on cards were small, big running etc. was impossible so that words and costumes substituted the "action" People did not pay entry fees - the cards were pushed around, stopped and the whole thing was repeated - so who payd? It was sponsored by the Guilds of the town. They competed - the more impressive their card was and the better the actors were dressed, the more prestige did the guilds get. As every card showed only one scene, 48 cards were needed to perform the whole York Cycle - every scene was acted 24 times - the route was known before People could pay for seats or refreshments Aim: to fortify the audience in its Christian belief (religious + didactic side) Guilds would provide the card for the scene that can be related to their job --> slowly, the scenes became more worldly - the scene "Noah's Arch" is very popular, because Noah quarrels with his wife and Noah has to push her on the ship - there is not much religion behind it, it's COMEDY! ==> entertainment site of the thing expends Who performed: The longer the texts became, the more they demanded acting - the text had to be learned and not necesserily the guilds had the people requiring for the job The profession of "actors" was born! Professional actors took over in the mid of the 14th century, who would specilise on certain parts and would travel with their performance Scenes usually dialogues, so that actors had to form companies and travel together (travelling theater companies who would perform only a selection of scenes from a longer cycle with the most popular scenes, e.g. the Noah scene that was loved) In small places, there were no guilds to pay the actors: this time, the audience - if they wanted to be paid, they had to play in the yards of inns where people had to pay for their entrance in a box (that's where "Box office" comes from) first static stages came up with improvised "skene", so that actors could hide when they weren't performing ~~~~~~~~~~~~~~ Ich würde unsere Mysterienspiele irgendwo noch bei der griechisch-römischen Antike einordnen, oder? Da hätte ich auch Material.
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