Unit:
Department of PhilologyLibrary of the School of Philosophy
Author:
Zafiropoulou Theodora
Dissertation committee:
Διονύσιος Μπενέτος, Αναπληρωτής Καθηγητής Μεσαιωνικής Λατινικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ
Ανδρέας Μιχαλόπουλος, Καθηγητής Λατινικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ
Σοφία Παπαϊωάννου, Καθηγήτρια Λατινικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ
Ιωάννης Κωνσταντάκος, Καθηγητής Αρχαίας ελληνικής Φιλολογίας, Τμήμα Φιλολογίας, ΕΚΠΑ
Ιωσήφ Βιβιλάκης, Καθηγητής, Τμήμα Θεατρικών Σπουδών, ΕΚΠΑ
Ρουμπίνη Δημοπούλου, Επίκουρη Καθηγήτρια, Τμήμα Ιταλικής Γλώσσας & Φιλολογίας, ΕΚΠΑ
Alessandro Lagioia, Επίκουρος καθηγητής Λατινικής Φιλολογίας, Πανεπιστήμιο Μπάρι
Original Title:
Δραματουργία και Ρητορεία στο Μεσαιωνικό Θρησκευτικό Θέατρο: το παράδειγμα του Ludus passionis
Translated title:
Dramaturgy and Rhetoric in Medieval Religious Drama: Ludus passionis
Summary:
The aim of this dissertation is to underline the dramatic and rhetorical features of Ludus passionis, a 12th century liturgical drama, written in Latin and German language, composed in trochaic verse, and included in the Codex Buranus. This dissertation is a contribution to modern research which considers the use of Aristotelian Poetics as a de-construction instrument for the medieval Latin liturgical drama.
The dissertation comprises four parts. The Introduction focuses on the content, the origin, the authorship and dating of Codex Buranus and Ludus passionis. It also traces the characteristics of ludus and its origin. The Main Part consists of a translation and an analysis of the dramatic and rhetorical features of Ludus passionis. It is underlined that mythos (μῦθος) for the Christian practice cannot be comprehended without dramatiza-tion. Also, whereas Aristotle puts the emphasis on plot, medieval liturgical drama de-picts human action in the face of divine will. It is indicated that the rubrics prescribe a number of determined loci, sedes, mansiones and it is stressed that action often occurs simultaneously among them, and that in several instances mute scenes serve as back-ground for the main dramatic action. The terms locus, scena, eventus, visus and perso-nae are also determined and analysed in Ludus passionis. It is stressed that the tech-niques of glossing, multiple acting areas, and simultaneous action are the principal stag-ing devices of Ludus passionis and that each of them carries out the re-orientation of church-drama toward a sence of spectacle. The notion of character (ἦθος), thought (διά-νοια) and music (μέλος) are also examined. In Christus patiens, at the last part of this dissertation is attempted a recomposition of all the analysed elements: mythos, specta-cle, diction, character, thought and music.
To sum up, by studying Ludus passionis, it becomes obvious that early Christian writers tend to reverse Aristotle’s hierarchy of elements, especially of spectacle (ὄψις) and diction (λέξις). In medieval liturgical drama the Aristotelian element spectacle (ὄψις) is redefined, as the stress is given on the implication of spectacle and staging. Most of the speeches in Ludus passionis are taken directly from the Vulgate. The most extensive amplifications is found in the two scenes in which the central personages are Mary Magdalen and Mary the Virgin, that may originally have been independent com-positions. In conclusion, Ludus passionis must be seen as universale.
Main subject category:
Language – Literature
Keywords:
Medieval Religious Theatre, Ludus, Ludus passionis, performance
Number of references:
402
