Category Archives: Performers, Multiple

Yvain: Love-Hate debate

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About the scene and clip:
The male performer tells of the debate between Love and Hate; as he brings the passage to life, the female performer serves as his human prop.

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.

Allegory is a way of composing and of interpreting texts: characters and the plot point beyond themselves to something “other”—something symbolic. Characters are often personifications of forces such as Love, Pride, Reason, or Friendship. The plot is also symbolic: characters’ struggles are between vices and virtues; their journey may refer to life’s pilgrimage or to the discovery of some great truth, such as the nature of love. Works may be entirely allegorical, or may just contain brief passages written in this mode. Allegorical works are often strongly religious, philosophical, or moral.

About the edition/translation:
Abridged from Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 170ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, inRomans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble:
Tim Hughes and Kate Rediger are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a book party for Performing Medieval Narrative at the Maison Française of New York University in October 2005. The event was also sponsored by “Storytelling in Performance,” a workshop funded by the Humanities Council of New York University and co-directed by Profs. Timmie Vitz, Nancy Regalado and Martha Hodes. Videography was by NYU-TV.

Tahkemoni: Of seven maidens and their mendacity, 2

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About the scene and clip:
In this clip, a performer tells part of the story of the “Seven Maidens and their Mendacity” with strong emphasis on the rhymes and the humor, and with guitar accompaniment; his side-kick holds the book and also participates.

About the work:
Tahkemoni is a collection of tales written in Hebrew by a Spanish Jewish writer, Judah Al-Harizi (or Alharizi), around 1220. The tales belong to the medieval Arabic “maqama” tradition: witty episodes, full of satire and extravagance, written in strongly rhymed prose with poetic inserts. Tahkemoni tells of many adventures and conversations of Heman the Ezrahite and a highly comic trickster figure, Hever the Kenite. The work contains many references to Hebrew Scripture and Jewish tradition, as well as to Al-Harizi’s own travels in the Middle East.

About the genre:
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 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:
Judah Al-Harizi, The Book of Tahkemoni: Jewish Tales from Medieval Spain, tr. David Simha Segal, Oxford, The Littman Library of Jewish Civilization, 2003; from Gate 20, pp. 199ff. Original Tahkemoni, Judah Al-Harizi, eds. Y. Toporovski and I. Zmora, Tel Aviv, Mahbarot le-sifrut, 1952.

About the performer/ensemble:
James Mackey is a Drama student in the Stonestreet Studio at New York University’s Tisch School of the Arts; Theo Stockman is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2006).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. E.B. Vitz at New York University in fall 2006.

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.

Rose: God of Love with Wealth and Beauty

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About the scene and clip:
The three elegantly-dressed performers act out the relations between the God of Love, Wealth and Beauty—and dramatize competition between the two great ladies for the love of the God.

About the work:
The Romance of the Rose is arguably the most influential French work of the Middle Ages. This work is a romance, composed in verse and treating of love. But it is a highly unusual romance in many regards. The Rose introduced into romance a set of major allegorical figures such as Love, Reason, and Danger; it established the popularity of the dream vision; and it launched a new fashion in pseudo-autobiographical narrative. The first 4000 lines (in octosyllabic rhymed couplets) were written by Guillaume de Lorris around 1230. This strongly lyrical part of the romance emphasizes the beauty of the Garden of Love, and the suffering by the Lover in his quest for love; Guillaume’s romance was left unfinished. Around 1280, Jean de Meun completed the work by adding close to 18,000 lines; his lengthy and learned text features speeches delivered by such characters as Reason, the Jealous Husband, the Old Woman, Nature, and Genius.

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.

Allegory is a way of composing and of interpreting texts: characters and the plot point beyond themselves to something “other”—something symbolic. Characters are often personifications of forces such as Love, Pride, Reason, or Friendship. The plot is also symbolic: characters’ struggles are between vices and virtues; their journey may refer to life’s pilgrimage or to the discovery of some great truth, such as the nature of love. Works may be entirely allegorical, or may just contain brief passages written in this mode. Allegorical works are often strongly religious, philosophical, or moral.

About the edition/translation:
Performance abridged from The Romance of the Rose, Harry W. Robbins trans., New York, Dutton, 1962, pp. 19ff; French edition: Guillaume de Lorris and Jean de Meun, Le Roman de la Rose, ed./[Modern French] trans. Armand Strubel, Paris, Lettres Gothiques, 1992.

About the performer/ensemble:
Adriene Couvillon, Andrew DiConcetto, and Jenna Noel are Drama students in the CAP 21 Studio 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.

Rose: Narcissus and Echo-comic handling

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About the scene and clip:
Two performers recount and act out the story of Narcissus and Echo, which comes from classical myth and is written on the Fountain. They perform the scene in comic fashion, taking turns with the roles, and using costumes, props, much stage business, and recorded music.

About the work:
The Romance of the Rose is arguably the most influential French work of the Middle Ages. This work is a romance, composed in verse and treating of love. But it is a highly unusual romance in many regards. The Rose introduced into romance a set of major allegorical figures such as Love, Reason, and Danger; it established the popularity of the dream vision; and it launched a new fashion in pseudo-autobiographical narrative. The first 4000 lines (in octosyllabic rhymed couplets) were written by Guillaume de Lorris around 1230. This strongly lyrical part of the romance emphasizes the beauty of the Garden of Love, and the suffering by the Lover in his quest for love; Guillaume’s romance was left unfinished. Around 1280, Jean de Meun completed the work by adding close to 18,000 lines; his lengthy and learned text features speeches delivered by such characters as Reason, the Jealous Husband, the Old Woman, Nature, and Genius.

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 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.

Allegory is a way of composing and of interpreting texts: characters and the plot point beyond themselves to something “other”—something symbolic. Characters are often personifications of forces such as Love, Pride, Reason, or Friendship. The plot is also symbolic: characters’ struggles are between vices and virtues; their journey may refer to life’s pilgrimage or to the discovery of some great truth, such as the nature of love. Works may be entirely allegorical, or may just contain brief passages written in this mode. Allegorical works are often strongly religious, philosophical, or moral.

About the edition/translation:
Performance abridged from The Romance of the Rose, Harry W. Robbins trans., New York, Dutton, 1962, pp. 29ff; French edition: Guillaume de Lorris and Jean de Meun, Le Roman de la Rose, ed./[Modern French] trans. Armand Strubel, Paris, Lettres Gothiques, 1992.

About the performer/ensemble:
Andrew Cristi and Danny Schmittler are Drama students in the CAP 21 Studio 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.

Rose: Dance in Garden; God of Love wounds young man

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About the scene and clip:
Two performers dance and act out scenes from the work: the dance in the garden, and the God of Love’s attack on the young man. They perform with a light and rather comic touch, drawing on a variety of costume elements and props, and using recorded music.

About the work:
The Romance of the Rose is arguably the most influential French work of the Middle Ages. This work is a romance, composed in verse and treating of love. But it is a highly unusual romance in many regards.The Rose introduced into romance a set of major allegorical figures such as Love, Reason, and Danger; it established the popularity of the dream vision; and it launched a new fashion in pseudo-autobiographical narrative. The first 4000 lines (in octosyllabic rhymed couplets) were written by Guillaume de Lorris around 1230. This strongly lyrical part of the romance emphasizes the beauty of the Garden of Love, and the suffering by the Lover in his quest for love; Guillaume’s romance was left unfinished. Around 1280, Jean de Meun completed the work by adding close to 18,000 lines; his lengthy and learned text features speeches delivered by such characters as Reason, the Jealous Husband, the Old Woman, Nature, and Genius.

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.

Allegory is a way of composing and of interpreting texts: characters and the plot point beyond themselves to something “other”—something symbolic. Characters are often personifications of forces such as Love, Pride, Reason, or Friendship. The plot is also symbolic: characters’ struggles are between vices and virtues; their journey may refer to life’s pilgrimage or to the discovery of some great truth, such as the nature of love. Works may be entirely allegorical, or may just contain brief passages written in this mode. Allegorical works are often strongly religious, philosophical, or moral.

About the edition/translation:
Performance abridged from The Romance of the Rose, Harry W. Robbins trans., New York, Dutton, 1962, pp. 26ff; French edition: Guillaume de Lorris and Jean de Meun, Le Roman de la Rose, ed./[Modern French] trans. Armand Strubel, Paris, Lettres Gothiques, 1992, ll. 1276ff.

About the performer/ensemble:
Tim Hughes and Kate Rediger are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts (2006).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz, in fall 2006. Nitzan Rotschild was the videographer.

Conquest: William and Orable in the dungeon

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About the scene and clip:
This clip shows William and his men in the Saracen dungeon; the Saracen queen Orable arrives to help them—and romance develops. This is a very comic performance: the female actor plays William and his men, and the male actor plays Orable—but this epic itself is of a highly comic, even rather parodic, nature.

About the work:
The Conquest of Orange tells a major story in the great life of William of Orange (Guillaume d’Orange), who was the hero of an entire cycle of French medieval epic songs. (He was an historical figure, a 9th-century contemporary of Charlemagne; many legends arose about him, and he was revered as a saint.) William is a strongly colorful, often comic, hero. In this late-12th-century epic, which contains many funny scenes, William conquers the southern-French city of Orange from its Saracen lord, King Aragon, and wins the love of Queen Orable, taking her away from her husband; she converts to Christianity and adopts a new name, Guibourc. Like most medieval French epics, The Conquest of Orange is composed in laisses (or stanzas) of variable length with ten-syllable lines in assonance (the final vowel is the same within each laisse). Such epics were originally sung by jongleurs, often with vielle accompaniment.

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:
Guillaume d’Orange: Four Twelfth-Century Epics, tr. Joan M. Ferrante, New York/London, Columbia University Press, 1974, laisses xliv ff., pp. 179ff. Original: La Prise d’Orange, ed. C. Régnier, Paris, Klincksieck, 1970.

About the performer/ensemble:
Eric Giancola and Kelly Swartz are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts (2005).

About the production:
This performance was created for a book party for Performing Medieval Narrative at the Maison Française of New York University in October 2005. The event was also sponsored by “Storytelling in Performance,” a workshop funded by the Humanities Council of New York University and co-directed by Profs. Timmie Vitz, Nancy Regalado and Martha Hodes. Videography was by NYU-TV.

Butcher: Group performance

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About the scene and clip:
Students in a group take turns telling the fabliau.

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.

Satire generally attacks, often in comic terms, the failings of classes or groups of people, such as those in political power (monarchs and aristocrats), or the clergy, or women; most satire focuses criticism on groups, rather than on individuals. Satire can also mock a political or religious philosophy, or an institution or system.

About the edition/translation:
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:
The performers were all the students in “Medieval Stories in Motion/Emotion: The Art of Storytelling” in 2006. All were students at the College of Arts and Science and/or at the Tisch School of the Arts at New York University.

About the production:
This performance was created for a course called “Medieval Stories in Motion/Emotion: The Art of Storytelling,” taught in spring 2006 at New York University by Profs. Paula Murray Cole and Timmie (E.B.) Vitz. The performance took place in Washington Square Park in New York City’s Greenwich Village in May 2006. Videography by Nitzan Rotschild.