Gesta: Devil

About the scene and clip:
Two students work together, telling and acting out the story in a slow and stylized fashion, with a modest use of props. Recorded music provides a dramatic and mysterious background.

About the work:
The Gesta Romanorum is an anonymous collection of stories, written in Latin. Though the earliest manuscripts date from the 14th c., the stories were probably written earlier. The tales consist of stories allegedly about deeds of the ancient Romans, with a Christian moral attached at the end, and were probably used by preachers in their sermons. The work was widely known, and Boccaccio, Chaucer, and Shakespeare all retold tales drawn from it.

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.”

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:
The Tales of the Gesta Romanorum, translated from the Latin by Charles Swan, revised by Wynnard Hooper, New York, Everest Books, 1959, pp. 55-6. Medieval Latin: Märchen und Legenden aus den Gesta Romanorum, mit Holzschnitten von Axel von Leckoschek, Leipzig, Insel, 1926.

About the performer/ensemble:
Donna Mazziotti is an English major at the College of Arts and Science and a Drama student in the Stella Adler Studio of Acting at Tisch School of the Arts at New York University (2004). Dorian Shorts is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2004).

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 2004. It was filmed in the classroom by Andrew Porter, a Film/TV student in the Tisch School of the Arts (2004).

Yvain: Lion attempts suicide

About the scene and clip:
The Lion attempts to kill himself, thinking that Yvain, to whom he is devoted, is dead – but then Yvain revives. The solo performer uses a modest costume (a cat’s nose) and a single prop (a sword).

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:
Abridged from Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 94-96. 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:
Dorian Shorts is a drama student in the Atlantic Acting School at New York University’s Tisch School of the Arts (2004).

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 2004. It took place in an open class held at the Maison Française in March 1, 2004, and was videoed by NYU-TV.