By Glenn Ehrstine
This learn examines the sociocultural context of ten performs, together with 15 music texts, played through the adolescence of the Bernese Reformation. It treats not just 3 pre-reform carnival performs by means of Niklaus Manuel, but additionally six newly edited works via neighborhood court docket secretary Hans von Rute.
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Extra info for Theater, Culture, and Community in Reformation Bern, 1523-1555 (Studies in Medieval and Reformation Traditions) (Studies in Medieval and Reformation Traditions)
After Greff modified and published his work in 1542, focusing now on the resurrection as opposed to the passion, Dessau pastors vociferously objected to the play's planned performance. Greff brought the matter before his territorial ruler, Prince George of Anhalt, who required him to seek out theological opinions on the dramatization of Scripture from Luther, Philipp Melanchthon, and three other Wittenberg theologians. e. theologically neutral; 2) a play, decorously performed, is an effective means of disseminating God's word, surpassing sermons in its ability to move an audience, and ideal for instructing youth in tenets of faith; 3) the didactic efficacy of drama is rooted in a sign-like visuality.
Title page, Hans von Riite, Goliath (printed 1555). Courtesy of Stadt-und Universitatsbibliothek Bern, Rar 106 Figure 18. Title page, Hans von Rate, Joseph (1538). Courtesy of Stadt- und Universitatsbibliothek Bern, Rar 121 Figure 19. Title page, Hans von Riite, Gedeon (1540). Courtesy of Stadt- und Universitatsbibliothek Bern, Rar 102 (4) Figure 20. Tide page, Hans von Riite, Noe (1546). Courtesy of Stadt- und Universitatsbibliothek Bern, Rar 102 (3) Figure 21. Title page, Hans von Riite, Hn kurtzes Osterspil (1552).
Yet whereas the theology of Zurich reformer Ulrich Zwingli remained distinct from that of Luther, particularly in his opposing interpretation of the Eucharist, Lutheran and Zwinglian theater were virtually indistinguishable when compared with that of the old church. Ein Geistliches schones newes spil provides a fitting point of departure for the study of Bernese drama, as the controversy surrounding the play ultimately produced the nearest approximation to 1532). On Greff and his oeuvre, see Wolfgang F.