History of British Theatre
History of British theatre
The earliest forms of theatre in Britain were the religious ritual performances of the native Britons.
The first theatre in Britain that we may recognize as such was that of the Romans. While we know a great deal about the Roman theatre its effect on Britain seems to have been limited – theatres were small and not particularly numerous (and may have been used for sports, gladiatorial contests and other mass spectacle entertainments more than for classical theatre). The ruins of a Roman Theatre in St. Albans still remain as a tourist attraction in Britain today.
After the Roman pull out the chief performances in Britain came from travelling bards, or Scops, who provided entertainment to crowds at feasts, at events, or in nobles’ courts, usually in the form of epic poetry. Caedmon’s Hymn and the saga of Beowulf are two of the very few surviving stories that were performed during that time. Organized theatrical performance would soon supplant the Scops, thanks in large part to the spread of Christianity and the rise of the trade guilds in British towns.
In the churches the liturgy was increasingly dramatized throughout the Middle Ages, with the architecture of the Churches themselves being used to great effect, with choirs of “angels” being flown in from the lofts and other spectacular special effects. Soon plays like “Everyman” were being written by anonymous priests who recognized the power theatre had to convey the Church’s teachings to the masses.
And though the church dramas played an important role in nurturing mediaeval drama (and a very important role in developing the playwriting talents of the clergy) a much more immediate and visceral theatre was being forged outside of the churches in the mediaeval towns, in the form of the Cycle Plays.
The Cycle Plays were given at the feast of Corpus Christi, and were performed on wagons that could be pulled to several different stations throughout a town. Over 40
The earliest forms of theatre in Britain were the religious ritual performances of the native Britons.
The first theatre in Britain that we may recognize as such was that of the Romans. While we know a great deal about the Roman theatre its effect on Britain seems to have been limited – theatres were small and not particularly numerous (and may have been used for sports, gladiatorial contests and other mass spectacle entertainments more than for classical theatre). The ruins of a Roman Theatre in St. Albans still remain as a tourist attraction in Britain today.
After the Roman pull out the chief performances in Britain came from travelling bards, or Scops, who provided entertainment to crowds at feasts, at events, or in nobles’ courts, usually in the form of epic poetry. Caedmon’s Hymn and the saga of Beowulf are two of the very few surviving stories that were performed during that time. Organized theatrical performance would soon supplant the Scops, thanks in large part to the spread of Christianity and the rise of the trade guilds in British towns.
In the churches the liturgy was increasingly dramatized throughout the Middle Ages, with the architecture of the Churches themselves being used to great effect, with choirs of “angels” being flown in from the lofts and other spectacular special effects. Soon plays like “Everyman” were being written by anonymous priests who recognized the power theatre had to convey the Church’s teachings to the masses.
And though the church dramas played an important role in nurturing mediaeval drama (and a very important role in developing the playwriting talents of the clergy) a much more immediate and visceral theatre was being forged outside of the churches in the mediaeval towns, in the form of the Cycle Plays.
The Cycle Plays were given at the feast of Corpus Christi, and were performed on wagons that could be pulled to several different stations throughout a town. Over 40