Category Archives: Free Adaptation

Hunchbacks: In the news!

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About the scene and clip:
This is a news report about the key hunchback in the fabliau—with a good deal of extra drama provided by the reporter (she is upset at having to say bad things about a humpback) and the director of the news program (who wants to get things rolling).

About the work:
The Three Hunchbacks is a comic tale about a man who marries off his daughter to a jealous hunchback—and about the wife’s clever stratagem to get rid of the bodies of three hunchbacked minstrels who suffocated in trunks in her chamber; her nasty husband is disposed of as well. The website contains several clips drawn from this fabliau, exemplifying some of the many ways in which this story can be performed.

About the genre:
Fabliaux are short comic tales. This narrative genre was extremely popular in the 13th and 14th centuries in France and elsewhere in Europe (Chaucer’s Miller’s Tale is a sophisticated fabliau). Fabliaux almost invariably deal with the passions of lust, gluttony, avarice—and with attempts to trick or deceive others. Characters are typically bourgeois, clerks and monks, or peasants—and often women. The treatment is comic or satirical. But fabliaux vary considerably. Some are extremely vulgar in language and treatment, inviting crude gestures in performance. Other fabliaux are based on puns or wordplay. Many have a moral at the end and some have ethical overtones throughout. A few fabliaux are refined and courtly in language and themes. Many fabliaux are anonymous, but a few are by known poets. Performance styles and strategies for the fabliaux probably varied considerably in the Middle Ages, according to the subject matter and characters, the poet, the performer(s), the occasion, and the kind of audience present.

About the edition/translation:
Freely adapted from Fabliaux Fair and Foul, trans. John Duval, Pegasus/ Medieval & Renaissance Texts, Binghamton, NY, 1992, pp. 140ff.  Old French: Fabliaux, ed. R.C. Johnston and D.D.R. Owen, Oxford, Basil Blackwell, 1965 (other Old French editions also exist).

About the performer/ensemble:
Kara Durrett and Ellie Johnson are Drama students 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.

Nibelungenlied: Comic, abridged, group

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About the scene and clip:
Five students rapidly summarize, act out and (occasionally) sing to kazoo accompaniment the story of the Nibelungs, in a comic handling of the epic material; they provide a useful body count for this frequently gory epic.

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 copy richard mille rm 030 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 vape Tank 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. 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:
Julie Benko, Mary Lane Haskell, Hannah McGinley, and Samantha Morrice are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts. Zachary Maher is a student in Political Science in the College of Arts and Science at New York University (2010).

About the production:
This scene was created for the final public performance of the course “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in April 2010 at New York University. It was filmed by Nitzan Rotschild.

Three Women: The Musical

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About the scene and clip:
Six performers (with modest costume elements) take turns telling the Three Women of Paris. They animate and modernize it by inserting appropriate songs from recent American musicals, to piano accompaniment.

About the work:
This fabliau tells about three women who go out drinking together. They have a grand time eating and drinking—but they get so drunk that they pass out naked in the street. Taken for dead, they are mourned by their husbands and are buried in the Cemetery of the Innocents. But the women revive and, filthy and covered with worms, they crawl out of their graves and head home. To some degree, this fabliau is a parody of a resurrection miracle.

About the genre:
Fabliaux are short comic tales. This narrative genre was extremely popular in the 13th and 14th centuries in France and elsewhere in Europe (Chaucer’s Miller’s Tale is a sophisticated fabliau). Fabliaux almost invariably deal with the passions of lust, gluttony, avarice–and with attempts to trick or deceive others. Characters are typically bourgeois, clerks and monks, or peasants–and often women. The treatment is comic or satirical, but fabliaux vary considerably. Some are extremely vulgar in language and treatment, inviting crude gestures in performance. Other fabliaux are based on puns or wordplay. Many have a moral at the end and some have ethical overtones throughout. A few fabliaux are refined and courtly in language and themes. Many fabliaux are anonymous, but a few are by known poets. Performance styles and strategies for the fabliaux probably varied considerably in the Middle Ages, according to the subject matter and characters, the poet, the performer(s), the occasion, and the kind of audience present.

About the edition/translation:
Abridged from Gallic Salt, ed./trans Robert L. Harrison, Berkeley, CA, University of California Press, 1974, pp. 398-417.

About the performer/ensemble:
Chris Chianesi, Katie Gassert, Rebecca Greenberg, Kevin Metzger, Jacob Richard, and Jennifer Seifter are all Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts. The pianist, Andrew Long, is a Drama student in the CAP 21 Studio, with a minor in Spanish literature and culture in the College of Arts and Science (2008).

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 2008. It took place at the Maison Française at an event called “Making It Real 2008” in April 2008; it was videoed by Gina Guadagnino.

Helen Queen of Sparta: Scenes

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About the scene and clip:
The clips are taken from scenes of Theodora Skipitares’s production of Helen Queen of Sparta. Puppets of various kinds, storyboards, and other multi-media approaches to performance are used in this representation of material drawn from classical Greek epic, drama, and myth. We have included this clip as part of our concern with analogous traditions. It offers an innovative handling of important material drawn from Ancient Greek narrative and drama.

About the work:
Helen Queen of Sparta is based on the Iliad (attributed to Homer), Euripides’ play Helen, and other classical texts.

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:
Text written by Theodora Skipitares (based on the Iliad, Euripides’ Helen, and other classical texts); music and sound design by Tim Schellenbaum.

About the performer/ensemble:
Theodora Skipitares is a visual artist and theater director who examines social and historical themes using many types of puppet figures. These puppets are the “performers” in large-scale works that include live music, film, video, and documentary texts. Among her works are “Age of Invention,” an examination of three centuries of American invention featuring 300 puppets, and “Optic Fever,” an exploration of Renaissance artists and their new way of seeing. The performers are collaborators of Theodora Skipitares.

About the production:
This video is an abridged version of a film made during a performance of Helen Queen of Sparta at La Mama Theatre in New York in February 2003. The video was produced by Kay Hines.

Roncisvalle: Maggio performance

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About the scene and clip:
On a large field, a group of performers act out and sing the battle at Roncevaux (Roncisvalle in Italian) where the heroic Roland and the French rear-guard die—a story originally told in the Old French Song of Roland. Roland’s betrothed, Alda, comes and weeps over his lifeless body; this scene is absent from the original Roland, but similar scenes are present in various other versions of the story.

This performance is from an Italian “Maggio” version of the famous French story of Roland’s death at Roncevaux. This sort of performance is termed Maggio from celebrations associated with May Day; traditional in the Apennine region of northern Italy, Maggio is a form of popular opera dating back to the 18th century. The actors use a variety of props, such as steel swords, and wear costumes characteristic of the Italian Maggio performance tradition, including heavily-embroidered black velvet jackets, tall black boots, and plumed helmets; Christian knights wear black capes; Saracens wear red ones. The director whispers lines to the actors, who do not need to know all their lines by heart. The performers sing their parts, accompanied by musicians playing the guitar, violin and accordion.

See also on this site the “Tristano e Isotta” clip, another Maggio performance.

About the work:
Roncisvalle is an Italian “Maggio”—dramatized and sung—reworking of the medieval story of the battle of Roncevaux in The Song of Roland. (Also see above under “About the scene and the clip”.)

About the genre:
The Maggio performance tradition draws strongly on romance and epic traditions—as well as on opera, which did not yet exist in the Middle Ages.

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.

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:
The Italian script is not available.

About the performer/ensemble:
The performers are the inhabitants of Villa Minozzo, a town in the Apennine Mountains, province of Reggio Emilia. The company has its own website: www.Costabona.it.

About the production:
This performance took place in Rossena, Italy, in July 2002. It was videoed by Prof. JoAnn Cavallo of the Italian Department at Columbia University. Copies of the documentary DVD “Il Maggio Emiliano: Ricordi, riflessioni, brani,” of which this is a clip, are available through Prof. Cavallo.

Tristano: Maggio performance

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About the scene and clip:
This performance is from a “Maggio” version of the medieval stories of Tristan and Isolde [Tristano e Isotta]. Tales about these famous lovers were originally told in French medieval works dating from the 12th and 13th centuries; such stories spread throughout Europe and still survive. This sort of performance is termed Maggio from celebrations associated with May Day. Maggio performance, traditional in the Apennine region of northern Italy, is a form of popular opera dating back to the 18th century. The entire performance of the tale includes the following scenes: the page’s introduction; Tristan goes mad from unfounded jealousy; Tristan and Isolde are reunited; King Mark exiles Tristan; Isolde laments over Tristan’s departure; King Arthur welcomes Isolde; a battle between King Mark and King Arthur and his knights; Tristan’s death; Lancelot’s lament.

In this clip, King Arthur, Lancelot and other knights attack King Mark for having brought about the death of the lovers, who lie dead on the ground. In the middle of a large field, the performers sing and act out their parts. The director whispers lines to the performers, who do not need to know all their lines by heart. The singing is punctuated by accordion flourishes. Unlike other Maggio companies in Emilia, these performers do not adopt the traditional costumes (embroidered black velvet with a strongly symbolic use of color), but instead vary their costumes to fit the story being performed.

See also on this site the “Roncisvalle” clip, another Maggio performance.

About the work:
Tristano e Isotta is an Italian “Maggio”—dramatized and sung—reworking of the medieval story of Tristan and Iseut. (See also see under “About the scene and clip”).

About the genre:
The Maggio performance tradition draws strongly on romance and epic traditions—as well as on opera, which did not yet exist in the Middle Ages.

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.

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:
Tristano e Isotta: script published in the journal Il Cantastorie, n. 3, 1981 (Terza serie), Reggio Emilia, Italy.

About the performer/ensemble:
The company is located in Frassinoro, a town in the Apennine Mountains (province of Modena) of Italy.

About the production:
This performance took place in Frassinoro (Modena), Italy, in July 2002; it was videoed by Prof. JoAnn Cavallo of the Italian Department at Columbia University. Copies of the documentary DVD “Il Maggio Emiliano: Ricordi, riflessioni, brani,” of which this is a clip, are available through Prof. Cavallo.

Butcher: Solo performance

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About the scene and clip:
The fabliau-performer recounts the entire fabliau, using a variety of props and costume elements.

About the work:
This fabliau tells how a butcher—angry at a rude and inhospitable priest—manages to trick him, several times over.

About the genre:
Fabliaux are short comic tales. This narrative genre was extremely popular in the 13th and 14th centuries in France and elsewhere in Europe (Chaucer’s Miller’s Tale is a sophisticated fabliau). Fabliaux almost invariably deal with the passions of lust, gluttony, avarice–and with attempts to trick or deceive others. Characters are typically bourgeois, clerks and monks, or peasants–and often women. The treatment is comic or satirical. But fabliaux vary considerably. Some are extremely vulgar in language and treatment, inviting crude gestures in performance. Other fabliaux are based on puns or wordplay. Many have a moral at the end and some have ethical overtones throughout. A few fabliaux are refined and courtly in language and themes. Many fabliaux are anonymous, but a few are by known poets. Performance styles and strategies for the fabliaux probably varied considerably in the Middle Ages, according to the subject matter and characters, the poet, the performer(s), the occasion, and the kind of audience present.

About the edition/translation:
Abridged from Fabliaux Fair and Foul, trans. John Duval, Pegasus, Medieval & Renaissance Texts, Binghamton, NY, 1992, pp. 1-14. French: Du bouchier d’Abevile: fabliau du XIIIe siècle, Genève, Droz, 1975.

About the performer/ensemble:
Michael Ritchie is a PhD student in the French Department at New York University (2005).

About the production:
This performance took place at the Tank–an “off-off-Broadway” venue in New York City–in July 2005. It was part of an evening of performances of medieval narrative organized by Jenn Jordan, a member of the Advisory Board of the website, and Timmie Vitz. Videography by Kennon Hewlitt (a Film student at New York University).

Hunchbacks: Entire fabliau

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About the scene and clip:
The performer tells—and rather freely adapts—the fabliau. He adopts different accents for the characters; he juggles; he uses several props, with volleyballs representing the hunchbacks’ hunches.

About the work:
The Three Hunchbacks is a comic tale about a man who marries off his daughter to a jealous hunchback–and about the wife’s clever stratagem to get rid of the bodies of three hunchbacked minstrels who suffocated in trunks in her chamber; her nasty husband is disposed of as well. The website contains several clips drawn from this fabliau, exemplifying some of the many ways in which this story can be performed.

About the genre:
Fabliaux are short comic tales. This narrative genre was extremely popular in the 13th and 14th centuries in France and elsewhere in Europe (Chaucer’s Miller’s Tale is a sophisticated fabliau). Fabliaux almost invariably deal with the passions of lust, gluttony, avarice–and with attempts to trick or deceive others. Characters are typically bourgeois, clerks and monks, or peasants–and often women. The treatment is comic or satirical. But fabliaux vary considerably. Some are extremely vulgar in language and treatment, inviting crude gestures in performance. Other fabliaux are based on puns or wordplay. Many have a moral at the end and some have ethical overtones throughout. A few fabliaux are refined and courtly in language and themes. Many fabliaux are anonymous, but a few are by known poets. Performance styles and strategies for the fabliaux probably varied considerably in the Middle Ages, according to the subject matter and characters, the poet, the performer(s), the occasion, and the kind of audience present.

About the edition/translation:
Abridged from Fabliaux Fair and Foul, trans. John Duval, Pegasus/ Medieval & Renaissance Texts, Binghamton, NY, 1992, pp. 143-145. Old French: Fabliaux, ed. R.C. Johnston and D.D.R. Owen, Oxford, Basil Blackwell, 1965 (other Old French editions also exist).

About the performer/ensemble:
Michael Ritchie is a PhD student in the French Department at New York University (2005).

About the production:
This is one of two fabliau performances by Michael Ritchie at the Kentucky Foreign Language Conference in April 2005, in a session devoted to performance of medieval narrative organized by Timmie (E.B.) Vitz. The videography was done by Faith Young, a student of Prof. Simonetta Cochia at Transylvania College in Lexington, Kentucky.

Beranger of the Long Ass

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About the scene and clip:
The performer tells—and rather freely adapts—the fabliau. This performance contains many elements: the performer uses a variety of accents; he juggles; he has recourse to numerous props and costume elements, and to recorded music; he pulls in a member of the audience. (The clip is missing a few seconds, during which “PB” is revealed as meaning “Perfect Bosom” and the wife criticizes her husband.)

About the work:
A poet named Guerin, about whom nothing is known, wrote this famous fabliau and several others. Berangier of the Long Ass tells of an impoverished knight who marries a wealthy wife from the bourgeoisie. The knight is lazy and cowardly, but he pretends to be courageous and successful in battle, and mocks his wife’s lack of noble ancestry. She proves that he is a liar by dressing up as a knight herself and challenging him; when he is afraid to fight, she humiliates him.

About the genre:
Fabliaux are short comic tales. This narrative genre was extremely popular in the 13th and 14th centuries in France and elsewhere in Europe (Chaucer’s Miller’s Tale is a sophisticated fabliau). Fabliaux almost invariably deal with the passions of lust, gluttony, avarice–and with attempts to trick or deceive others. Characters are typically bourgeois, clerks and monks, or peasants–and often women. The treatment is comic or satirical. But fabliaux vary considerably. Some are extremely vulgar in language and treatment, inviting crude gestures in performance. Other fabliaux are based on puns or wordplay. Many have a moral at the end and some have ethical overtones throughout. A few fabliaux are refined and courtly in language and themes. Many fabliaux are anonymous, but a few are by known poets. Performance styles and strategies for the fabliaux probably varied considerably in the Middle Ages, according to the subject matter and characters, the poet, the performer(s), the occasion, and the kind of audience present.

About the edition/translation:
Fabliaux Fair and Foul, trans. John Duval, Pegasus/ Medieval & Renaissance Texts, Binghamton, NY, 1992, pp. 99-106. French edition: Nouveau Recueil des Fabliaux, eds. Willem Noomen and Nico van den Boogaard, Assen, Van Gorcum, Vol. IV (1983).

About the performer/ensemble:
Michael Ritchie is a PhD student in the French Department at New York University (2005).

About the production:
This is one of two fabliau performances by Michael Ritchie at the Kentucky Foreign Language Conference in April 2005, in a session devoted to performance of medieval narrative organized by Timmie (E.B.) Vitz. The videography was done by Faith Young, a student of Prof. Simonetta Cochia at Transylvania College in Lexington, Kentucky.

Miracle of Theophilus

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About the scene and clip:
This is the story of Theophilus, who sold his soul to the Devil and who was rescued by the Virgin Mary (this medieval legend is the primary source of the Faust story). The performers have amplified the brief account given in The Golden Legend with details from Rutebeuf’s Miracle of Theophilus. They have also added an interlude, in the modern spirit, of Mary’s fight with the Devil. The scene is performed by two actors who take turns reading and reciting, with recourse to cartoon-like illustrations projected as a slide show, and recorded music.

About the work:
The work known as the Legenda Aurea (The Golden Legend) is a massive compilation of stories about the saints by an Italian Dominican, Jacobus of Voragine (or Varazze), Archbishop of Genoa, writing around 1260. Organized around the Catholic liturgical year, The Golden Legend tells the lives and stories of many important saints, as well as of Christ and the Virgin Mary. It was very widely known; preachers and storytellers often told stories from The Golden Legend, and it inspired much medieval art. The work as a whole and stories drawn from it were translated into many vernacular languages. About 900 manuscripts of the The Golden Legend survive, and at the end of the Middle Ages it was even more frequently printed than the Bible. Le Miracle de Theophile is a play by Rutebeuf, a major 13th-century French poet, who wrote works in a variety of genres, including saints’ lives and miracle plays.

About the genre:
Stories about the saintly wisdom, heroism, or miracles jh rolex datejust m279384rbr 0019 rolex calibre 2671 mingzhu engine ladies silver tone of remarkable men and women exist in many religious traditions, such as Buddhism, Christianity, Islam, and Judaism. Such stories are termed “hagiography.” In medieval Europe, the saint’s life or legend was an extremely popular type of work. A great many stories (and plays) about male and female Christian saints exist in Latin and in all the vernacular languages. These works may focus on the saint’s dramatic death by martyrdom, or recount the remarkable miracles performed by the saint, or may relate the entire life of the holy man or woman. Among the most important collections of saints’ lives and legends is The Golden Legend by Jacobus of Voragine. Chaucer’s “Prioress’s Tale” in The Canterbury Tales is a tale of martyrdom. Miracle and pious tales about the Blessed Virgin Mary, the mother of Jesus, constitute a special, and highly important, category of saintly legends.

This story also belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are alexander mcqueen 25833 fashion casual shoes part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
From The Golden Legend of Jacobus de Voragine, translated by William G. Ryan and Helmut Ripperger, New York Press, 1969, pp. 528-9. Latin: Iacopo da Varazze, Legenda Aurea, ed. Giovanni Paolo Maggioni, 2nd ed., Firenze, SISMEL, Edizioni del Galluzzo, 1998, 2 vols. Rutebeuf, Le Miracle de Theophile, trans. Richard Axton and John E. Stevens, in Medieval French Drama, Oxford, Blackwell, 1971, pp. 167-92.

About the performer/ensemble:
Jenn Jordan completed her BA in Medieval and Renaissance Studies at New York University in 2005, and plans to attend graduate school; she is a member of the Advisory Board of this website. Adam Jones completed his BFA at the Lee Strasberg Theatre & Film Institute at the Tisch School of the Arts at New York University in 2004.

About the production:
This performance took place at the Tank–an “off-off-Broadway” venue in New York City–in July 2005. It was part of an evening of performances of medieval narrative organized by Jenn Jordan, a member of the Advisory Board of the website, and Timmie Vitz. Videography by Kennon Hewlitt (a Film student at New York University).