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).

Inferno, canto VIII: Dante meets Francesca

About the scene and clip:
This clip recounts canto V of the Inferno. In this scene, Dante, the pilgrim, enters the fifth circle of Hell where those who were ruled in life by their passions are punished. He meets Francesca da Rimini who tells him of her adulterous affair. The performer tells the story, also impersonating the various characters; a book is used as a prop.

About the work:
The Divine Comedy (1315-1320) is one of the greatest works of the Middle Ages. In this three part work, composed in cantos of terza rima, Dante tells of a spiritual pilgrimage through Hell, Purgatory, and Heaven. Beatrice, whom Dante had known and loved in his youth and who is now in heaven, has been enabled through divine grace to send Virgil to be his guide for much of the way. Throughout the Commedia Dante’s deep learning is visible, along with his interest in Italian and Church history and politics, theological issues, poetry and poetics, and scientific thought. In the Inferno, the pilgrim descends through the concentric circles of Hell in which different types of sinners receive the eternal punishment appropriate to their sins. The Pilgrim speaks with many whom he meets on his way.

About the genre:
The Divine Comedy is a unique work but it is also, in some respects, an epic (see paragraph below). It belongs as well to a long tradition of narrative journeys to the other world, written at first in Latin and then in the various vernaculars.

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 Divine Comedy, trans. C.H. Sisson, Manchester, Carcanet New Press, 1980. There are many editions of the original Italian.

About the performer/ensemble:
Gina Guadagnino graduated from New York University in May 2003 with a major in English; she minored in Medieval and Renaissance Studies and Irish Studies.

About the production:
This scene is one of a series created under the direction of Prof. Timmie (E.B.) Vitz in fall 2003. This clip comes from a performance that took place at Gluckman Ireland House at New York University for the Medieval and Renaissance Program’s Holiday party in December 2003. The performance was videoed by NYU-TV.

Metamorphoses: Narcissus

About the scene and clip:
This clip is drawn from the story of Narcissus who, having refused to love in return any of the young nymphs who loved him, was cursed by Echo to love in vain. Seeing his reflection in the mirror, he fell in love with himself and died of despair, becoming a flower (the narcissus) in death. The performer has drawn on the use of a mirror and video-recording as props to suggest Narcissus’ self-infatuation.

About the work:
The story of Narcissus is told in Book III of Ovid’s Metamorphoses, a collection of tales of love and other human passions, in which men and women are transformed–“metamorphosed”–into animals, birds, and plants, and live on in these new forms. Some scholars argue that the Metamorphoses is an epic.

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.”

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:
Adapted from The Metamorphoses of Ovid, trans. A.E. Watts, Berkeley, University of California Press, 1954, Book III, pp.61ff. Original: Ovid, Metamorphoses, ed./trans. Frank Justus Miller, Cambridge, MA, Harvard University Press (Loeb Classical Library), 1976-1977, 2 vols.

About the performer/ensemble:
Adam Jones is a Drama student in the Lee Strasberg Theatre & Film Institute at New York University’s Tisch School of the Arts (2003).

About the production:
This scene was part of a volunteer project on performing Ovid’s Metamorphoses with Prof. Timmie (E.B.) Vitz in fall 2003. This performance took place in September 2003 at the Maison Française of New York University at an informal gathering of medievalists held under the auspices of the Colloquium for Orality, Writing and Culture, co-convenors Prof. Nancy Freeman Regalado and Prof. Vitz. The performance was videoed by NYU-TV.