Category Archives: Chrétien de Troyes

Yvain: Lion thinks Yvain is dead!

Posted on by

About the scene and clip:
The Lion thinks that Yvain (who has fainted from grief) is dead, and he is beside himself with woe. He is just about to kill himself with Yvain’s sword when our hero recovers consciousness.  The performer, embodying the Lion, makes modest use of props (e.g., shoes) to suggest Yvain’s physical presence.

About the work:
Yvain is one of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. The romance recounts the adventures of Yvain, a knight of King Arthur’s court, who wins the beautiful Laudine in marriage (having killed her husband in single combat). He then loses both her love and his honor through his failure to keep a vow to return home from his knightly activities by an agreed-upon date. The second half of the romance is devoted to adventures in which Yvain, accompanied by a lion, creates a new name for himself (the “Knight with the Lion”), recovers his honor through a series of good deeds, and finally wins back his wife.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 98ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble:
Katie Eisenberg is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2012).

About the production:
This performance was created for the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in spring 2012. It was videoed by Samantha Ehrenberger and edited by Abigail Wahl.

Yvain: Laudine and Lunete

Posted on by

About the scene and clip: 
As Laudine displays her woe at the loss of her husband, Lunete, her friend and companion, tries to persuade her to go on living and indeed assures her that she can find an even better husband than the one she has lost. The performer embodies both characters.

About the work:
Yvain is one of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. The romance recounts the adventures of Yvain, a knight of King Arthur’s court, who wins the beautiful Laudine in marriage (having killed her husband in single combat). He then loses both her love and his honor through his failure to keep a vow to return home from his knightly activities by an agreed-upon date. The second half of the romance is devoted to adventures in which Yvain, accompanied by a lion, creates a new name for himself (the “Knight with the Lion”), recovers his honor through a series of good deeds, and finally wins back his wife.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 44ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble: 
Samantha Able is a Drama student in the Stonestreet Studio at New York University’s Tisch School of the Arts (2012).

About the production:
This performance was created for the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in spring 2012. It was videoed by Samantha Ehrenberger and edited by Abigail Wahl.

Yvain: Yvain falls in love

Posted on by

About the scene and clip:
The performer tells how Love attacks and wounds Yvain, and he falls madly in love with his enemy, Laudine, the lady whose husband he has just killed in combat.

About the work:
Yvain is one of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. The romance recounts the adventures of Yvain, a knight of King Arthur’s court, who wins the beautiful Laudine in marriage (having killed her husband in single combat). He then loses both her love and his honor through his failure to keep a vow to return home from his knightly activities by an agreed-upon date. The second half of the romance is devoted to adventures in which Yvain, accompanied by a lion, creates a new name for himself (the “Knight with the Lion”), recovers his honor through a series of good deeds, and finally wins back his wife.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 38ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble:
Alex Herron is a student in Film and TV at New York University’s Tisch School of the Arts (2012).

About the production:
This performance was created for the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in spring 2012. It was videoed by Samantha Ehrenberger and edited by Abigail Wahl.

Yvain: Calogrenant tells his mortifying story

Posted on by

About the scene and clip:
The solo performer recounts and embodies Calogrenant’s story of how he was defeated by his powerful adversary (the husband of Laudine).  It is hearing Calogrenant’s story that makes Yvain want to go the magical fountain and prove his own valor.

About the work:
Yvain is one of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. The romance recounts the adventures of Yvain, a knight of King Arthur’s court, who wins the beautiful Laudine in marriage (having killed her husband in single combat). He then loses both her love and his honor through his failure to keep a vow to return home from his knightly activities by an agreed-upon date. The second half of the romance is devoted to adventures in which Yvain, accompanied by a lion, creates a new name for himself (the “Knight with the Lion”), recovers his honor through a series of good deeds, and finally wins back his wife.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 15ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble: 
William Hutto is a student in the Meisner Studio at New York University’s Tisch School of the Arts (2012).

About the production:
This performance was created for the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in spring 2012. It was videoed by Samantha Ehrenberger and edited by Abigail Wahl.

Lancelot: Father vs. Son

Posted on by

About the scene and clip:
A young knight has attempted to abduct a maiden who was riding with Lancelot. The knight’s father, recognizing how valiant Lancelot is, has forbidden his son to fight with him. The two argue, and the father has his angry son restrained by his barons. The solo performer plays both parts; recorded music from “The Tudors” provides a sound track.

About the work:
Lancelot is one of the five surviving romances by the great narrative poet Chrétien de Troyes; it is centrally concerned with the love affair between Guinevere, wife of King Arthur, and Lancelot, one of the knights of the Round Table. This unfinished romance contains many adventures of Lancelot and Gawain as they attempt to rescue Guinevere, who has been carried off by the evil Meleagant.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Lancelot or the Knight of the Cart, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1990, pp. 49ff. French: Le Chevalier de la charrette, ed. Charles Méla, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994.

About the performer/ensemble:
Jessica Carei is a student in Journalism and in Medieval and Renaissance Studies in the College of Arts and Science at New York University (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Lancelot: Dwarf deceives Lancelot

Posted on by

About the scene and clip:
An evil dwarf betrays Lancelot, who follows him into the woods where he will be taken prisoner by his enemies. The solo performer, with a modest use of props, plays both parts.

About the work:
Lancelot is one of the five surviving romances by the great narrative poet Chrétien de Troyes; it is centrally concerned with the love affair between Guinevere, wife of King Arthur, and Lancelot, one of the knights of the Round Table. This unfinished romance contains many adventures of Lancelot and Gawain as they attempt to rescue Guinevere, who has been carried off by the evil Meleagant.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Lancelot or the Knight of the Cart, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1990, pp. 140ff. French: Le Chevalier de la charrette, ed. Charles Méla, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994.

About the performer/ensemble:
Andrew Long is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts, with a minor in Spanish literature and culture in the College of Arts and Science (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Erec: Enide distraught

Posted on by

About the scene and clip:
The solo performer acts out the scene in which Enide, thinking that Erec is dead, is highly distraught, and loudly and dramatically blames herself. But Erec revives!

About the work:
Erec et Enide is the earliest of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. It tells how the noble knight of the Round Table, Erec, wins the beautiful Enide as his wife—but his honor is then compromised because he spends all his time with his lovely wife instead of doing his knightly duties. When Enide inadvertently reveals to him that his honor has been damaged, he rides off on adventure to restore it, taking her with him—and indeed in many of the adventures Enide plays a central role. Erec does many good deeds, recovers his honor—and finds the proper balance between love and chivalry.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Erec and Enide, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 2000, pp. 135ff. Old French: Erec et Enide, ed./trans. Jean-Marie Fritz, Paris, Livre de Poche, 1992.

About the performer/ensemble:
Kelsey Larsen is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.

Erec: Erec and Enide escape together

Posted on by

About the scene and clip:
The expressive solo performer shows how Erec, having killed the evil count Oringle of Limors, escapes with Enide; husband and wife are very happy to be reunited.

About the work:
Erec et Enide is the earliest of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. It tells how the noble knight of the Round Table, Erec, wins the beautiful Enide as his wife—but his honor is then compromised because he spends all his time with his lovely wife instead of doing his knightly duties. When Enide inadvertently reveals to him that his honor has been damaged, he rides off on adventure to restore it, taking her with him—and indeed in many of the adventures Enide plays a central role. Erec does many good deeds, recovers his honor—and finds the proper balance between love and chivalry.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Erec and Enide, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 2000, pp. 143ff. Old French: Erec et Enide, ed./trans. Jean-Marie Fritz, Paris, Livre de Poche, 1992.

About the performer/ensemble:
Julie Benko is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.

Erec: Erec beats Kay

Posted on by

About the scene and clip:
The solo performer shows how Erec defeated the obnoxious knight Kay.

About the work:
Erec et Enide is the earliest of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. It tells how the noble knight of the Round Table, Erec, wins the beautiful Enide as his wife—but his honor is then compromised because he spends all his time with his lovely wife instead of doing his knightly duties. When Enide inadvertently reveals to him that his honor has been damaged, he rides off on adventure to restore it, taking her with him—and indeed in many of the adventures Enide plays a central role. Erec does many good deeds, recovers his honor—and finds the proper balance between love and chivalry.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Erec and Enide, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 2000, pp. 118ff. Old French: Erec et Enide, ed./trans. Jean-Marie Fritz, Paris, Livre de Poche, 1992.

About the performer/ensemble:
Sam (Samantha) Erenberger is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger and other students were the videographers.

Erec: Erec trounces Yder

Posted on by

About the scene and clip:
The solo performer dynamically performs the scene where Erec defeats the knight Yder.

About the work:
Erec et Enide is the earliest of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. It tells how the noble knight of the Round Table, Erec, wins the beautiful Enide as his wife—but his honor is then compromised because he spends all his time with his lovely wife instead of doing his knightly duties. When Enide inadvertently reveals to him that his honor has been damaged, he rides off on adventure to restore it, taking her with him—and indeed in many of the adventures Enide plays a central role. Erec does many good deeds, recovers his honor—and finds the proper balance between love and chivalry.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Erec and Enide, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 2000, pp. 29ff. Old French: Erec et Enide, ed./trans. Jean-Marie Fritz, Paris, Livre de Poche, 1992.

About the performer/ensemble:
Ellie Johnsonn is a Drama student in the Atlantic Acting School at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.