Category Archives: Epic

Cid: The Cid embraces his wife and daughters, and leaves Castile

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About the scene and clip:
The Cid, weeping as he prepares to leave Castile, embraces his daughters and his wife, telling them how much he loves them.  A feast is given in his honor—and then he departs.  He is accompanied by many knights who love this great man, “born at the right hour.”

About the work: 
The Song of the Cid (Cantar del Mio Cid) is a medieval Spanish epic, probably composed in the 12th century, and preserved in a single, somewhat incomplete 14th-century manuscript; it is probably anonymous (though there is controversy on the issue). It recounts important adventures of an historical figure, Rodrigo (or Ruy) Díaz, known as “El Cid” (from an Arabic honoric term, meaning “lord” or “sir”).  The Cid was a major hero of the “reconquista” (reconquest) of Spain from the Moors. This epic is (especially for an epic) unusually cheerful on the whole: The Cid was “born at the right hour!” The first part tells of his banishment from Castile by King Alfonso (for reasons unclear in the epic), his many conquests in Moorish territory, and his reinstatement at court. The second part focuses on the highly unsatisfactory marriages of The Cid’s two daughters to arrogant, cowardly Spanish noblemen, the sons of Carrión (the king had chosen the marriages); the brothers beat the two women and leave them for dead in the forest, but they are rescued. The Cid contrives a sophisticated and civilized revenge on the two men—and his daughters go on to marry kings.    

About the genre:  
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:  
The Song of the Cid: A Dual-Language Edition with Parallel Text, trans. Burton Raffel, New York, Penguin Editions, 2009; stanzas 16-17, pp. 21-23.

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 Alexander Herron and edited by Abigail Wahl.

Cid: The Carrión Brothers plot to kill their wives, The Cid’s daughters

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About the scene and clip:
The performer embodies the arrogant and evil Carrión Brothers, who plan to take their wives, who are the daughters of The Cid, into the forest and kill them.

About the work: 
The Song of the Cid (Cantar del Mio Cid) is a medieval Spanish epic, probably composed in the 12th century, and preserved in a single, somewhat incomplete 14th-century manuscript; it is probably anonymous (though there is controversy on the issue). It recounts important adventures of an historical figure, Rodrigo (or Ruy) Díaz, known as “El Cid” (from an Arabic honoric term, meaning “lord” or “sir”).  The Cid was a major hero of the “reconquista” (reconquest) of Spain from the Moors. This epic is (especially for an epic) unusually cheerful on the whole: The Cid was “born at the right hour!” The first part tells of his banishment from Castile by King Alfonso (for reasons unclear in the epic), his many conquests in Moorish territory, and his reinstatement at court. The second part focuses on the highly unsatisfactory marriages of The Cid’s two daughters to arrogant, cowardly Spanish noblemen, the sons of Carrión (the king had chosen the marriages); the brothers beat the two women and leave them for dead in the forest, but they are rescued. The Cid contrives a sophisticated and civilized revenge on the two men—and his daughters go on to marry kings.    

About the genre:  
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:  
The Song of the Cid: A Dual-Language Edition with Parallel Text, trans. Burton Raffel, New York, Penguin Editions, 2009; stanza 124, pp. 175-177.

About the performer/ensemble:  
Angélie Guilbaud is a Drama student in the Stella Adler 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 Alexander Herron and edited by Abigail Wahl.

Cid: The Cid prepares joyfully to go into battle

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About the scene and clip:
The Cid goes joyfully into battle, with the performer beating  his hands on the table to imitate the sound of the Moorish drums.  The Cid reassures his terrified wife and the ladies that all will be well—he will conquer, and those drums will soon hang in St. Mary’s Church!

About the work: 
The Song of the Cid (Cantar del Mio Cid) is a medieval Spanish epic, probably composed in the 12th century, and preserved in a single, somewhat incomplete 14th-century manuscript; it is probably anonymous (though there is controversy on the issue). It recounts important adventures of an historical figure, Rodrigo (or Ruy) Díaz, known as “El Cid” (from an Arabic honoric term, meaning “lord” or “sir”).  The Cid was a major hero of the “reconquista” (reconquest) of Spain from the Moors. This epic is (especially for an epic) unusually cheerful on the whole: The Cid was “born at the right hour!” The first part tells of his banishment from Castile by King Alfonso (for reasons unclear in the epic), his many conquests in Moorish territory, and his reinstatement at court. The second part focuses on the highly unsatisfactory marriages of The Cid’s two daughters to arrogant, cowardly Spanish noblemen, the sons of Carrión (the king had chosen the marriages); the brothers beat the two women and leave them for dead in the forest, but they are rescued. The Cid contrives a sophisticated and civilized revenge on the two men—and his daughters go on to marry kings.    

About the genre:  
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:  
The Song of the Cid: A Dual-Language Edition with Parallel Text, trans. Burton Raffel, New York, Penguin Editions, 2009; stanza 91, pp. 117-119.

About the performer/ensemble:  
Jon Sokolow 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 Alexander Herron and edited by Abigail Wahl.

Cid: The Cid and his beard

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About the scene and clip:
This scene is a dialogue between The Cid and a supporter of the evil Carrión brothers. Emphasis falls on The Cid’s grand, long, never-been-pulled beard, that symbol of his honor and force, of which he is justifiably proud.

About the work: 
The Song of the Cid (Cantar del Mio Cid) is a medieval Spanish epic, probably composed in the 12th century, and preserved in a single, somewhat incomplete 14th-century manuscript; it is probably anonymous (though there is controversy on the issue). It recounts important adventures of an historical figure, Rodrigo (or Ruy) Díaz, known as “El Cid” (from an Arabic honoric term, meaning “lord” or “sir”).  The Cid was a major hero of the “reconquista” (reconquest) of Spain from the Moors. This epic is (especially for an epic) unusually cheerful on the whole: The Cid was “born at the right hour!” The first part tells of his banishment from Castile by King Alfonso (for reasons unclear in the epic), his many conquests in Moorish territory, and his reinstatement at court. The second part focuses on the highly unsatisfactory marriages of The Cid’s two daughters to arrogant, cowardly Spanish noblemen, the sons of Carrión (the king had chosen the marriages); the brothers beat the two women and leave them for dead in the forest, but they are rescued. The Cid contrives a sophisticated and civilized revenge on the two men—and his daughters go on to marry kings.    

About the genre:  
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
The Song of the Cid: A Dual-Language Edition with Parallel Text, trans. Burton Raffel, New York, Penguin Editions, 2009; stanza 140, p. 219.

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 Alexander Herron and edited by Abigail Wahl.

Nibelungenlied: Gunter wants to win Brunhild

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About the scene and clip:
Gunter has decided that he absolutely must have Brunhild as his wife—but a man must defeat her in physical contests in order to win her, and she is an alarmingly strong woman. The solo performer acts out both roles in the scene.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006, pp. 62ff. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Ellie Johnson 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.

Rhymed Roland: Aude prays, then dies in Charlemagne’s arms

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About the scene and clip:
The solo performer does one of the scenes that show how different the Rhymed Roland is from the most famous version of the Roland story, The Song of Roland. She enacts Aude’s final prayer and her death in Charlemagne’s arms, and tells of the great public lamentation over Aude’s death: the “greatest for any woman ever born.”

About the work:
The story of Roland was famous throughout the Middle Ages. The earliest surviving version, generally titled La Chanson de Roland (The Song of Roland) is one of the great masterpieces of French medieval literature; it dates apparently from the late 11th century and is preserved in a famous manuscript now in the Bodleian Library at Oxford. This classic version is composed in laisses (or stanzas) of variable length with ten-syllable lines in assonance (the final vowel is the same within each laisse). Epics like the Roland were originally sung by jongleurs, often with vielle accompaniment. The Roland tells of the Emperor Charlemagne’s great struggle to conquer Spain from the Muslim Infidels. It recounts the betrayal of the French by the traitor, Ganelon, resulting in a great battle at Roncevaux. There, the French rearguard, led by Roland, defeats the Moors, but all the great French knights—the twelve peers—die. Charlemagne avenges the peers in two great battles, and Ganelon is punished. At the end, Charlemagne is called by the angel Gabriel to a new mission.

Such are the classic plot of this work, and the traditional French epic form. But there were many other, somewhat different, versions of the Roland story, some of which survive. One of them is the so-called Roland rimé, or Rhymed Roland. This poem (in two surviving manuscripts) apparently dates from the second half of the 12th century. It is composed in rhymed laisses, rather than in assonanced lines. One of the great innovations of this poem is the vastly amplified and dramatic role it gives to Aude, Roland’s fiancée, who barely appeared in the Song of Roland.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
La Chanson de Roland/The Song of Roland: The French Corpus, gen. ed. Joseph J. Duggan, Turnhout, Belgium, Brepols Publishers, 2005; vol. II: The Châteauroux-Venice 7 Version, ed. Joseph J. Duggan, ll. 7384ff; pp. 422ff. The English translation is by Timmie (E.B.) Vitz.

About the performer/ensemble:
Catesby Bernstein is a Drama student in the Stella Adler Studio of Acting at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz, in fall 2005. Nitzan Rotschild was the videographer.

Rhymed Roland: Aude and Charlemagne mourn together (in Old French)

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About the scene and clip:
Using a modest costume element and recorded music, the solo artist performs in Old French one of the scenes that show how different the Rhymed Roland is from the most famous version of the Roland story, The Song of Roland. In this scene, Charlemagne holds Aude in his arms. Her heart trembles, her eyes become cloudy, her forehead is pale; she faints. Then she cries out to the Emperor to show her the bodies of her bold brother, Oliver, and of Roland, who had promised to marry her. She tells Charlemagne that she will go away together with her “ami” and her brother who has suffered. Charlemagne says to her, “Beautiful one, they have forgotten me and you!”

About the work:
The story of Roland was famous throughout the Middle Ages. The earliest surviving version, generally titled La Chanson de Roland (The Song of Roland) is one of the great masterpieces of French medieval literature; it dates apparently from the late 11th century and is preserved in a famous manuscript now in the Bodleian Library at Oxford. This classic version is composed in laisses (or stanzas) of variable length with ten-syllable lines in assonance (the final vowel is the same within each laisse). Epics like the Roland were originally sung by jongleurs, often with vielle accompaniment. The Roland tells of the Emperor Charlemagne’s great struggle to conquer Spain from the Muslim Infidels. It recounts the betrayal of the French by the traitor, Ganelon, resulting in a great battle at Roncevaux. There, the French rearguard, led by Roland, defeats the Moors, but all the great French knights—the twelve peers—die. Charlemagne avenges the peers in two great battles, and Ganelon is punished. At the end, Charlemagne is called by the angel Gabriel to a new mission.

Such are the classic plot of this work, and the traditional French epic form. But there were many other, somewhat different, versions of the Roland story, some of which survive. One of them is the so-called Roland rimé, or Rhymed Roland. This poem (in two surviving manuscripts) apparently dates from the second half of the 12th century. It is composed in rhymed laisses, rather than in assonanced lines. One of the great innovations of this poem is the vastly amplified and dramatic role it gives to Aude, Roland’s fiancée, who barely appeared in the Song of Roland.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
La Chanson de Roland/The Song of Roland: The French Corpus, gen. ed. Joseph J. Duggan, Turnhout, Belgium, Brepols Publishers, 2005; vol. II: The Châteauroux-Venice 7 Version, ed. Joseph J. Duggan, ll. 7170ff; p. 414.

About the performer/ensemble:
Elizabeth Sprague is a student in Dramatic Literature and in Journalism in the College of Arts and Science at New York University (2005).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz, in fall 2005. Nitzan Rotschild was the videographer.

Nibelungenlied: Sifried’s body is taken to the church

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About the scene and clip:
Sifrid’s lifeless body is taken to the church—and in the presence of Hagan, his murderer, the body begins to bleed again. Krimhild confronts Hagen. Recorded church bells add to the somber but dramatic performance.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006, pp. 145ff. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Hannah McGinley 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.

Nibelungenlied: Gunter sees Brunhild

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About the scene and clip:
Gunter, arriving by boat in Iceland, sees Brunhild for the first time—and he wants her! In this somewhat comic handling of the scene; fellow students are the women at the window.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006, pp. 56ff. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Zach Webber is a Drama student in the Classical 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.

Nibelungenlied: Krimhild mourns over Sifried’s body

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About the scene and clip:
Krimhild comes to say a final farewell to her beloved husband, Sifried, and laments over his body. Drawing on medieval chant, the performer sings the scene.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006, pp. 148ff. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Sarah Utz is a student in the College of Arts and Science at New York University; her major is as yet undecided (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.