Processions, Processional Theatre, Simultaneous Stage: Variations of Venues and Stage Arrangements of the Lucerne Play Tradition from the Middle Ages to Early Modern Times

Greco-Kaufmann, Heidy (2021). Processions, Processional Theatre, Simultaneous Stage: Variations of Venues and Stage Arrangements of the Lucerne Play Tradition from the Middle Ages to Early Modern Times. In: Société Internationale pour l'étude du Théâtre Médiéval, 16th triennial Colloquium, Session costumes and stage decoration. European Medieval Drama: Vol. 25. Turnhout, Belgium: Brepols

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Religious and profane theatrical events in Lucerne are probably the best documented in Europe. From sources dating back to the 12th century we learn that during the Easter Triduum various kinds of ritual practice were held within the premises of the monastery “im Hof”. While monks were celebrating the adoratio, depositio and elevatio crucis and the visitatio sepulchri hidden from the public, the faithful commemorated the passion and resurrection of Christ with processions and prayers in front of sculptured and painted passion scenes and a temporarily put up holy sepulcher. The first record of the staging of a vernacular resurrection play in front of the parish church dates from 1453; the earliest text and a stage plan of a vernacular passion play is handed down around 1470. During the 16th century we can observe a growing frequency of testimonials of staging activities. Besides the long established tradition of passion plays we encounter other types of religious plays such as biblical plays, an Antichrist and Last Judgment play, saints plays and various kinds of carnival plays. The preferred location during the 16th was the wine market, the new center of the bourgeoisie. With the shift of the stage from the religious sphere (monastery, parish) to the mercantile center we notice a change of the mode of performance: the processional theatre is replaced by the simultaneous stage with the division of actors and spectators.
In my paper I will analyze the interrelation of the stage arrangements and religious, social and political developments. I also focus on decorations, props and costumes related to the different venues and modes of performance.

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