Category Archives: Without Musical Accompaniment

Tristan by Béroul: Tristan teaches dog to hunt without barking

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About the scene and clip:
Tristan and Iseut are living together in the forest as outlaws; Tristan’s beloved dog, Husdent, has run off to join them. Fearing that Husdent’s barks will endanger their lives, Tristan teaches him to hunt without barking. Two performers do the scene—one as the dog.

About the work:
Béroul’s mid-12th-century story of Tristan and Iseut is one of the earliest surviving versions of the love story. He is completely on the lovers’ side, though their love is illicit. Béroul’s narrative is full of dialogues and dramatic scenes, some of them strongly comic, some highly physical.

About the genre:
This work is probably best understood as a tale that is close to a romance, or an early romance.

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.”

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:
Béroul, The Romance of Tristan, ed. and trans. Norris J. Lacy, New York, Garland, 1989, pp. 75ff.

About the performer/ensemble:
Chris Chianesi and Jennifer Seifter are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Tristan by Béroul: Tristan rescues Iseut from lepers

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About the scene and clip:
King Mark has handed the beautiful Iseut over to an evil, lecherous leper as punishment for her adultery; Tristan comes to her rescue. The solo storyteller plays all the parts, making a modest use of prop and costume.

About the work:
Béroul’s mid-12th-century story of Tristan and Iseut is one of the earliest surviving versions of the love story. He is completely on the lovers’ side, though their love is illicit. Béroul’s narrative is full of dialogues and dramatic scenes, some of them strongly comic, some highly physical.

About the genre:
This work is probably best understood as a tale that is close to a romance, or an early romance.

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.”

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:
Béroul, The Romance of Tristan, ed. and trans. Norris J. Lacy, New York, Garland, 1989, pp. 59ff.

About the performer/ensemble:
Jacob Richard is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Tristan by Béroul: Lovers take revenge

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About the scene and clip:
Tristan comes in secret to see Iseut; she spots one of their enemies spying on them, and Tristan kills him with an arrow. The solo storyteller plays all the parts.

About the work:
Béroul’s mid-12th-century story of Tristan and Iseut is one of the earliest surviving versions of the love story. He is completely on the lovers’ side, though their love is illicit. Béroul’s narrative is full of dialogues and dramatic scenes, some of them strongly comic, some highly physical.

About the genre:
This work is probably best understood as a tale that is close to a romance, or an early romance.

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.”

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:
Béroul, The Romance of Tristan, ed. and trans. Norris J. Lacy, New York, Garland, 1989, pp. 207ff.

About the performer/ensemble:
Brittany Holtsclaw is a Drama student in the Stonestreet Studio at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Tristan by Béroul: Villains plot

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About the scene and clip:
An evil spy plots with three “villains” to trap the lovers. The solo storyteller plays all the parts.

About the work:
Béroul’s mid-12th-century story of Tristan and Iseut is one of the earliest surviving versions of the love story. He is completely on the lovers’ side, though their love is illicit. Béroul’s narrative is full of dialogues and dramatic scenes, some of them strongly comic, some highly physical.

About the genre:
This work is probably best understood as a tale that is close to a romance, or an early romance.

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.”

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:
Béroul, The Romance of Tristan, ed. and trans. Norris J. Lacy, New York, Garland, 1989, pp. 201ff.

About the performer/ensemble:
Steven Northrup is a Drama student in the Strasberg Studio at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Hebrew Arthur: Author speaks; Merlin’s trick

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About the scene and clip:
This clip is in three parts. First, the solo performer reads aloud in English the opening passages of the work. Next, he reads aloud in English the scene where the enchanter Merlin arranges for Uther Pendragon to spend a night with the beautiful Duchess Yzerna (Ygerna), in the likeness of her husband. The performer then does the same scene again, but in Hebrew, from memory.

About the work:
King Artus is an adaptation into Hebrew of parts of the story of King Arthur. It was written in 1279 by an anonymous Italian Jew.

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:
A Hebrew Arthurian Romance of 1279: King Artus, ed. /trans. Curt Leviant, Syracuse NY, Syracuse University Press, 2003, pp. 8-11; 16-19.

About the performer/ensemble:
Nitzan Rotschild is a student in Film & Television at New York University’s Tisch School of the Arts (2008).

About the production:
This clip was created for this website, for pleasure. It was videoed in a meeting room at New York University in spring 2008.

Golden Legend: St. Nicholas

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About the scene and clip:
The solo performer tells about St. Nicholas, projecting onto a screen drawings she has done of the saint’s life and miracles.

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.

About the genre:
Stories about the saintly wisdom, heroism, or miracles 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 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 or Lives of the Saints, Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275, first edition published 1470. English edition by William Caxton, first edition 1483, ed. F.S. Ellis, Temple Classics, 1900 (reprinted 1922, 1931), p. 49. Latin: Iacopo da Varazze, Legenda Aurea, ed. Giovanni Paolo Maggioni, 2nd ed., Firenze, SISMEL, Edizioni del Galluzzo, 1998, 2 vols.

About the performer/ensemble:
Jenn Jordan is completing a MA in the Draper Program at New York University (2008).

About the production:
This clip was created for this website, for pleasure. It was videoed in a meeting room at New York University in spring 2008. Nitzan Rotschild was the videographer.

Tam Lin: Unaccompanied song

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About the scene and clip:
A solo performer sings the full version of Child ballad 39A unaccompanied.

About the work:
Tam Lin is number 39 of 305 English and Scottish ballads collected by Francis James Child in the late 19th century. Child collected 14 variations of the Tam Lin ballad; 39A he considered to be the oldest variation, although the inherent oral tradition of the ballad makes it impossible to date it with accuracy. The earliest printed reference to the ballad comes from an anonymous 1549 tract titled The Complaynt of Scotlande: vyth ane Exortatione to the Thre Estaits to be vigilante in the Deffens of their Public veil. The ballad is referred to as one of the “ancient” tales told in Scotland.

There are clues to the age of the ballad in the language used. For example, Janet is described as wearing a “kirtle,” a garment that was popularly worn in Scotland from the 14th through 16th centuries. The expression “syne,” meaning “directly after,” fell out of use in the mid 15th century, as did the term “aboon” for “above.” This version of the ballad is commonly dated to the late 14th century, as the majority of the colloquial terminology used in the ballad was at its peak popularity at that time.

The musical notation of this ballad, by James Johnson in the 18th century, was part of a large compilation he collected on popular Scottish songs.

The ballad tells the story of Janet, a young woman who is the daughter of a nobleman. She enters the woods of Carterhaugh (an area near modern-day Selkirk, Scotland), where she meets Tam Lin, a fairy knight who guards the well there. Tam Lin requires a tribute of all who pass the well, and Janet pays the tribute of her virginity. She becomes pregnant and returns to her father’s hall, where her pregnancy is discovered. Although her father wants her to marry one of his knights, Janet refuses, claiming that only Tam Lin – the true father of her child – will be her husband. She returns to the well, where Tam Lin tells her that he was once a mortal knight. He then explains that on Halloween, she can win him back from the fairies if she can pull him down off a white horse and hold him in her arms while he turns into various dangerous animals and objects. Janet accomplishes this, and Tam Lin is transformed from a fairy knight back into a naked mortal man. The Queen of Fairies curses the pair as she acknowledges that Tam Lin belongs to Janet now.

About the genre:
A ballad is a song that tells a story; ballads are often fairly long, composed of a dozen or more stanzas. Although many other songs, both long and short, also tell stories, the term “ballad” used in this particular sense dates from the late Middle Ages. Some late-medieval ballads and a great many early-modern ballads survive, some of them in multiple versions, and throughout the world. Documentation for ballad melodies is in general substantially later than for the texts.

About the edition/translation:
The classic edition for traditional ballad texts, often with many variants, is The English and Scottish Popular Ballads, ed. Francis James Child, New York, Dover, 1965, 5 vols (orig. 1888). This song is Vol. I, No. 39. The musical notation the performer uses comes from Scots Musical Museum, Originally Published by James Johnson with Illustrations of the Lyric Poetry and Music of Scotland by William Stenhouse, Hatboro, PA, Folklore Associates, 1962 (orig. 1787).

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. She has loved Tam Lin since childhood (2008).

About the production:
This performance was created for this website. It was videoed in a reception room at New York University in spring 2008.

Fables: Mouse and Frog

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About the scene and clip:
Doing all the roles, the performer tells about the foolish mouse, the greedy frog, and the kite (a kind of hawk).

About the work:
Marie de France, a major literary figure from the Middle Ages, is one of the few women writers of the period whose work has survived. Little is known of her, except that she was almost certainly of the nobility. She wrote in England apparently in the 1160s and ‘70s; her work is in French (or “Anglo-Norman”: the French language as spoken and written in medieval England). She wrote lais—a dozen short narrative poems with Breton roots, composed in octosyllabic rhymed couplets, and bearing on love in its many forms. The lais circulated separately, and also together in a volume that she dedicated to King Henry (probably English King Henry II). She also wrote Espurgatoire seint Patriz (St. Patrick’s Purgatory), about a pilgrimage down to the afterlife, based on Latin sources; and Fables, also based largely on Latin sources. She is now widely believed also to have been the author of the Anglo-NormanVie seinte Audree (Life of Saint Audrey).

About the genre:
A fable is a short tale, frequently featuring animals; most fables have a clear moral point, often stated explicitly at the beginning or end. Medieval European fables generally draw heavily on those of Aesop, who in turn was influenced by Indian and other Eastern fables and moral tales.

About the edition/translation:
The Fables of Marie de France, ed. and English translation, Mary Lou Martin, Birmingham, Ala., Summa Publications, 1984, pp. 37-40.

About the performer/ensemble:
Sasha Orr is an Economics Major in the College of Arts and Science at New York University (2005).

About the production:
This performance was created for an Independent Study with Prof. Timmie (E.B.) Vitz in fall 2005; it was a final performance for the course, and was videoed in December 2005 at the Maison Française of New York University by Nick Spangler.

Yvain: Yvain and Laudine talk of love, 2

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About the scene and clip:
The actor performs a love dialogue, doing both characters—Yvain and the lady; he uses “he said”/”she said” sheets of paper as props to signal character shifts.

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:
Yvain or The Knight with the Lion, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1975, pp. 56ff. Old French: Le Chevalier au Lion (Yvain), ed./trans. David F. Hult, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994.

About the performer/ensemble:
Steve Shear is a Drama student 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.

Roland: Roland grieves over Oliver

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About the scene and clip:
The performer recounts and acts out Roland’s grief as he weeps over the body of his friend Oliver; a fellow student serves as a human prop.

About the work:
La Chanson de Roland (The Song of Roland) is one of the great masterpieces of French medieval literature. The earliest surviving version of this anonymous epic dates apparently from the late 11th century and is preserved in a famous manuscript now in the Bodleian Library at Oxford. This classic version—there were numerous others—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.

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:
The Song of Roland, translated from the Old French by Dorothy L. Sayers, Penguin, 1957, laisses 163ff., pp. 136ff. Old French: La Chanson de Roland, ed. Ian Short, Paris, Lettres gothiques, 1990.

About the performer/ensemble:
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 the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in fall 2006.