Poetic Logics: Medieval Period
The unique experiences of the post industrial time era from the medieval period on through to the 1900’s has provided a vibrational/scientific/and symbolic information base that has ‘profoundly-informed’ the essential ‘cultural reality’ of present day western society and it’s global planet position – ( as well as what those positions have signalled for future global strategies and individual experience). Many of the gains in human knowledge that we now take for granted has come through this continuum – totally permeating our senses and perception of reality (with and without our understanding of ‘the significance of an actual encounter’), and from that point a given ‘bit’ of information can go on to affect one’s ‘very’ nature ( and perception of ‘truth’- or ‘what is most real’?). This of course, is the story of cultural dynamics and individual experience, and what it means to be a human being as we enter into the twenty first century. That the fact of our existence on this planet is not separate from both the past and the present is a lesson that comes through loud and clear in studying the classical materials - and as a result of the ‘apparentcy of existence’, the thrust continuum of trans-European creative dynamics is an inheritance that can be drawn on and used (reused and/or recycled) to intellectually measure present day notions about the wonder of human experience as well as the ‘context of choices’ that will define ‘forward motion’ experiences (knowledge) for the coming new millennium. The wonder of this subject lies at the heart of the story of Medieval theater restructura-lism, and the challenge of this paper will seek to understand the ‘balance of forces’ that were unleashed through this continuum- that being, the creativity from the Elizabethan time era and it’s related ‘fields of radiance’ (influences) brought forth fresh ‘reflections’ (knowledge and ritual-encounters) about the drama and wonder of human experience and knowledge. My hope in this paper is to better understand the underlying ‘associations’ that give insight into universal postulation tendencies from a tri-centric modeling perspective. I have chosen an approach of this type because of my belief that genesis reductive base approaches of this nature can yield relevant information that touches on the real ‘inner secrets’ of restructual creative (postulation) modeling. Based on the five plays we have read thus far, that being: Everyman, Faustus, Hamlet, Richard 11, it could be interesting to use this material to better understand the complex energies of the Medieval time period as a summation phenomenon with it’s own secrets and delights. I believe the spectrum of our classroom materials gives a profound snapshot into genesis European postulation dynamics as a point of definition into exploratory theater techniques leading into the modern era. The Medieval time period was a period that vibrationally ‘seeded’ the intellectual and conceptual ‘floor’ of Western Culture – from the development of new ideas that ‘awakened fresh dimensions’ of human feelings and experience, to the development of revolutionary theater: extending to include the development of innovative performance strategies, ( encompassing the emergence of restructural science and symbolic mysticism). All of these matters would underline the dawn of the modern era.
The concept of poetic logics that ‘actualized’ through the composite thrust of trans-European vibrational dynamics is a factor that has profoundly effected the ‘weight of image-modeling’ and mythology in this time period – as active components that helped to shape the established (static) reality position of post- Grecian/Roman progressionalism . The emergence of this continuum says something about the state of human experience in the early period of the new dominant European political powers. There are three aspects to this subject that can be sited as relevant to the significance of restructual European theater: that being, 1) the emergence of individual consciousness and experience, and the actualness of ‘change’ (- new world encounters for example), 2) the reforming social and political systems that merged and reformed in this time period (through the fact of expansion/change and time) and how those experiences would give us a shapshot of the related economic and political particulars of actual life in that period- this is the heart of what community experience really is, and finally, 3) the emergence of correspondence logic disciplines from the Medieval period would set the vibrational tone and cultural course for the expansion and integration ( and ‘projection’) of ‘actual-experience prototypes’, ‘concrete-experiences prototypes’, and ‘symbolic experiences prototypes’. It is at this point where the significance of the new ‘building processes’ can come into view as real factors that harassed the potential of a given people’s experience . The concept of poetic logics begins at the point of recognizing similarities and differences from a given experience, and from that recognition to discover it’s related ‘internal patterns’ (corresponding logics). In the end, all of these matters comment on the urge to better understand and ‘sense/taste’/ ‘feel’ reality, (and the challenge of the moment) – and to emerge from the experience with ‘transcendent insight’.
In the first category, ‘the actualness’ of human experience from a tri-centric perspective involves understanding that the summation body of a given information-focus details ( and in the end ‘defines’) the identity ‘tendencies’ of it’s people (individual and collectively) and that this connection is not outside of the actual experiences of that culture. To write this viewpoint is only to state the obvious- that is, that the knowledge base actualized through the experiences of a given people (culture/lineage) has a special value that gives insight into the ‘way’ of that group – in it’s composite strata, informing on the particulars of it’s specific domains- and extending to later include it’s relationship to composite humanity. But there is more here- because the concept of poetic logics is not separate from the primary characteristics (instincts/ tendencies) of ‘human nature’, and the ‘fact’ of ‘actual individual encounters/ experiences’. The subject of human relationships can be viewed from many different perspectives, and the consistency of world mythological documentat-ion reveals there are consistent concepts that have historical and current meaning to us as a species – for instance, the concept of seeking meaning (belief) and hope is a historic concern of our species that is documented from the earliest writings. This sentiment is important because the theater is about the experiences of actual people as well as the challenge of seeking knowledge about ourselves and our relationships with others. The vibrational backdrop of the Medieval time period would see the emergence of a unique individual consciousness methodologies that came about as a response/non-response to the spectra of situations that composite Europeans have experienced. The nature of these responses when viewed in the composite context of the eight through seventieth century can give one insight into the composite experiences taking place in other areas of the planet during that same time period- even affecting the situation in Africa and in China. This is a subject that reflects on the complexities of human encounters and experiences.
Individual consciousness in the restructural Medieval period would involve a ‘viewpoint of reality’ that took into account the rise and fall of various monarches and the consistent evolution of a focused information base and mythology. The wonder of this time period would see the emergence of both new technology, social organization and travel. All of these inventions would open up fresh domains for individual experience and thought. It would be in this period in time where more and more the whole nature of human relationships – as an aesthetic ‘subject’ would be re-examined both in the sciences and in the arts. Where in the pre-Christian period the understanding of a trans-European genesis (Hellenic) aesthetic was seen through the context of a unified mythological base that relied on the use of set poetics (ie. creation story myths, stories about particular Gods and Goddesses ) as a way to portray fantasy associations as well as entertainment, the individual in the Elizabethan time period would begin to exercise a radical intellectual position that would bring forth new conceptual and speculative positions . The difference of these two aesthetic alignments should not be taken lightly, because this quality lies at the very heart of the modern era – that being: the difference between having a defined context of variables that can be used to recognize ‘agreed upon’ cultural experiences’ (ie. cultural value systems) as opposed to the danger of ‘so-called’ human equality and ‘target’ existential recognition.
The ‘forward thrust’ of individual consciousness in the Medieval period as it relates to the acceleration of restructural theater is not separate from: 1) the gradual dissolution of the Catholic Church as the controlling and defining arm of composite European culture 2) the elaboration of individual poetics – and the vibrational difference between actual human encounters and the classical existing documentation (version) of those encounters 3) the ‘forwarding’ of classical documentation (experiences) into a kind of recycled ‘reference’ bank – that is, using the documentation from the past to apply to the present, 4) an expanding world view based on the possibility of new trading opportunities- and the related effect of ‘unsanctioned and/or not-controlled information’ coming from different cultures and value systems, and lastly 5) the continued re-emergence of the ‘other’- as an aesthetic polarity/-phenomenon that gives insight into ‘the extended dimensions’ of human dynamics. In the first instance, the accumulated power of the Catholic church would move to define the terms of individual responsibility in the transition time-space through the dark ages into the middle ages, and the progressional dimensions of that power would extend into every area of individual experience. The life of the individual in the early period is consistent with the historical tenets that defined European progressionalism – encompassing what we have learned about the dynamics of actual existence .‘Experience’ in this context was not viewed as separate from regional, economic and ‘cosmic’ associations/encounters. From a cultural perspective grounded in symbolic ‘expectations’ to the beginning of redefined associations- the individual in the Medieval period would build a viewpoint based on the changing opportunities brought about through reshifting social/vibrational alliances or changing economic individual and political blocks. The phenomenon of poetic logics in this context is not separate from our attempts to view both our lives as well as the life of the community from a perspective that reveals our deepest experiences/fears and hopes. Poetic logic from that vantage point is not separate from historical efforts that seek to reflect on the nature of human existence and the fact of mortality and survival. When Marlowe writes of the disappointments of Everyman, he is really reacting to our need to believe there is something cosmic and ‘other worldly’ that can be used to judge a given encounter- these are individual matters that reflect on genesis ‘dispositions’ – about the very nature of the universe. It is from this perspective that the concept of a story telling and tragedy can better be understood- because the emergence of the restructural theater in the Medieval time period is an art form that explores narrative structures that give insight into the fantansy-constructed experiences of men and woman in actual ‘imaginary-encounters’. The reader or theater go’er will recognize a given character experience based on that character’s relationship to established (classical) principle ‘aesthetic zones of behavior and/or reaction’. The Medieval period is important because in looking at this subject we are staring right at an historical moment in human discovery and world change.
The second degree of tri-centric modeling concerns the reality dynamics of the group, and the wonder of human relationships. It is through this context where a given people comes to terms with the spectra of actual experience – as a community and hiearchy of relationships that comes with it’s own vibrational signature -(personality). The actualness of culture and the emergence of the ‘extended’ theater tradition is not separate from the ‘genesis interest’ most human beings have in seeking to understand one’s self (self realization) as well as one’s greater community- and the additional spectra of ‘specifics’ each person experiences by virtue of physical universe reality and ‘so-called’ ‘different moments’ (cognizant and perception of change and time). As a people, we come to know ourselves by noting the composite experiences happening all around us- this instinct seems to be consistent with the whole of our species, that is, people learn the ways of the world thru their experiences and through alignment with what they have learned. It is from and through the domain of actual experience that fundamental categories and/or archetypes are extracted. That is, a given culture’s understanding and use of dynamic symbolism is not separate from what is actually happening in it’s culture and people-types/spectra (characterizations). The acceleration of extended theater and literature is a subject that profoundly affected ‘experience-options’ in the Medieval period and is not be separate from the reservoir of characterizations that would perpetuate (and mold) fresh concepts that took into account new sources of ‘creative-abtraction’ and form . The emergence of the printing press in that time period cannot be overly estimated for the desemination of both practical and aesthetic information would mean that the ‘voices’ of normal people could have greater influence in comparison to what the norm had been for composite humanity. In the Medieval period, the theater would bring forth new strategies that built on those technological advances that called for the use of innovative concepts (ie. tragedies, soliloquies) and designs that sought to map the new terrains of a changing social/-vibrational landscape. Where in the early period theater performance involved the ritualized fulfillment of established mythological aesthetic positions, that served as a kind of oratorical platform of divine speech (in a kind of two dimensional setting space) more and more the forward thrust of the Medieval time period would redirect the conceptual lines of vibrational/intellectual focus to include ‘the evolution of given a discipline (aesthetic/-intellectual/ scientific) based on individual expression/invention and creativity- whether or not a given idea corresponded to the sanctioned beliefs of the church or upper class. All of these matters would help define the meaning of cultural identity and exploration.
The challenge of individual experiences in the Medieval time period is a complex subject that cannot be contained in any one domain. This is especially the case when particular (actual) human experiences are factored into a composite picture of the time period. The effectiveness of a given life experience in the Elizabethan period was in some ways is no different than in this time period. That is, we can look at medieval time period and see different life-experience possibilities for: a) women b) children c) specialist and non-specialist d) urban area dwellers and/or farming areas e) poor or rich and last but not least f) royalty and non-royality. It would be for the restruc-tural creative writer to crystalize what the concept of ‘composite experiences’ could mean from an ‘extended-centric’ perspective (which all artist must have)- into an ‘active-projected’ work of creativity ( creativity as opposed to the word ‘art’, which had nothing to do with the applied evolution of Medieval literature and theater). After all, these guys were businessmen! (smile).
The composite thrust of the Medieval time period would also establish the use of extended correspondence logics strategies (form-relationships) that redirected the dynamics of symbolic imagery and and poetic associations. The seriousness of this ‘fusing’ should not be underestimated, because the heart of the new drama gave insight into the actual morality of the people- as opposed to the classical spiritual positions of the Church. The first five plays we have read reveal a very beautiful effort to understand human nature and actual life through imaginary story form. One can sense the ‘vibrational forces’ that have awakened in the people in this literature, and yet the nature of this time period gives us an opportunity to also ‘sense’ underlying fundamental ‘yearnings and needs’ that transcend any one time period and/or nation. This is so, because the combined weight of the five plays we have read so clearly demonstrates how deeply human beings need to believe in the concept of hope and transformation and that the root of that belief is trans-idomatic. and tri-centric. Suddenly, everything is not so simply! But there is more, because the ‘nature’ of restructural Medieval theater can help us better understand world perceptual modeling and ‘experience-transference’- this is so because the development of existential poetic modeling has underlined the evolutionary tendencies ( and successes) of the composite trans-European ‘perceptional model’ (ie. methodologies). That is: the phenomenon of poetic logics is at the heart of the ‘pathos/euphoric’ polarity that characterizes the uniqueness of the western perceptual model. This ‘vibrational-actualness’ (truth/alignment?) is related to the ‘essential’ qualities of human curiosity and discovery.
The conceptual/aesthetic component-properties ( and science) of trans-European vibrational dynamics in the Medieval time period would solidify a fresh restructural platform of storytelling (fantasy) and theater that sought to reconcile the conflicting and turbulent political and social changes reshaping composite Elizabethan society.The acceleration of this movement would address the role of religion and political dynamics as contributing factors that shaped the fundamental cosmologies of the trans-Christian faiths. The aesthetic implications of this relationship is reflected in a) the use of principle iconargraphs b) the development of the concept of a ‘hierarchy of saints c) the concept of divinity d) and it’s related assigned network of value systems e) the concept of religion as a composite social/political factor and finally, f) the emergence of the homliey as an active political document that extended the powers of the royal and noble classes. In this context, the challenge of restructural theater would include the development of fresh ‘contexts of imagery’ (stories) as a means to provide a formal identity bases for exploratory imagination ( ‘open postulation’). It is at this point where the new creative strategies would begin to ‘map’ the experiences that are possible in a given ‘state of domains’ ( as in, the particulars of ‘one’s community, or ‘imagination extracted from exploring the ‘inherent/not-inherent possibilities of the situation) or, the concept of mapping as a summation logic component that extracts the possibilities of a given sub-target ‘dream-space’ that would allow for the evolution of extended multiple dialogues and sub-plots in a manner that would be totally restructural ( and dynamic). The theater in the Medieval period would begin to ‘flesh out’ the ‘nature of human relationships’ in a given social/political spectra, and from that point explore the ‘new idea’ based on at least five primary lanes of approach, that being: 1) the individual in relationship to his beliefs, 2) the King and his advisors 3) the ‘force’ of honor 4) the individual in relationship with others 6) the understanding of sexuality 7) and the situation of women.
What of individual belief? This of course is a complex subject that touches on many different aspects of human experience. Certainly in the Medieval time period the individual was confronted with ‘the accelerated momentum’ of expanded Christian doctrines in a time period that would see the ‘Era of the Europeans’ arrive as a world power and trader. On one hand, the composite thrust of Christianity would bring the people through the dark ages and give the hope for a positive new world order ( and prosperity). On the other hand, the vibrational and structural weight of organized religion sometimes ‘tips the scales’ in a complex direction. The most the common man could ask for was to be left alone without unnecessary taxation and war. Restructual theater starts on this level, as an instrument that came through the experiences of the people ( or at least, as an instrument that was ‘taken back’ by the people from the controlling forces of that time period. This, in my opinion, is the central mandate that framed the exploratory strategies of the Medieval time period. The ‘forward thrust’ of restructural literature would create a ‘state of fantasy’ that gave the ordinary man and woman an opportunity to ‘listen in’ on conversations between a King and his inside advisors, suddenly, the ‘normal’ theater go’er/reader (person) can penetrate into the ‘secret corners’ of the culture in a manner that was totally restructural and creative. This was not a one dimensional breakthrough that only pertained to one domain of ‘reception’, rather the acceleration of Medieval restructural theater ( and literature) would ‘open’ dynamic curiosity (and focus) into every area of the human experience.
The five plays we have read in class thus far give profound insight into the underlying vibrational dimensions of composite trans-European progressionalism and invention. Each play unveils/ hints and interacts with the major point of unfolding points of trans-European history – flowing in and out of the particulars of a given time period and extending to comment on the very nature of human change cycles and world evolution. In this context a given play is a vibrational imprint snapshot of a given people real existence ‘in time’: and through this medium we are privileged to ‘listen in’ ( and ‘feel’) the actual weight and ‘presence’ of the moment. To reflect on the five plays we have thus read with the awareness of both symbolic and historical progressionalism from a tri-centric perspective, some effort must be made to first detail a coherent viewpoint of this subject that integrates the extended use of restructural medieval ‘re-imaging’ – revolutionary formal positions. An approach of this nature will seek to view the evolutionary use (and application) of ‘fresh conceptual applications ( ie. methodolo-gies) as part of a composite historical continuum that was never intended to be separate from ‘real life’ (ie. a viewpoint that takes into account composite recognition of the ‘spectra of variables’ that make up the ‘tendencies of the human family- or specific lineage and/or given group) in the composite culture.
In the play Everyman, — Marlowe gives us an opportunity to ‘reseat ourselves’ into the ‘lap’ of the Elizabethan era. I found this play to be dynamic and restructural on every level. Here is an opportunity to experience a fresh symbolic theater ‘space-event’ that detailed the extra dimensions of the early period- after the dissolution of the ancient empires of Greece and Rome. The concept of Everyman was consistent with the changing landscape of European progressionlism- encompassing the ‘balance of forces’ that dictated ‘applied definitions’ and value systems throughout the empire. This was a time period that had ‘solved’ certain (huh) questions about the ‘extended parameters’ of human speculation and matters of birth right(s). Either you were a sinner or you weren’t! (!) . It is through the ‘security’ of this aesthetic ( and the demonstrated fact of actual history and documentation) that Marlowe was able to ‘assign’ his character’s virtue-status: titles like- ‘messenger, Death, cousin, Angel; it helps to know just who you’re dealing with! And so, right in the beginning of trans-European restructural theater one can sense a ‘fresh field’ of references and ‘internal strategies’. The concept of theater that emerged in this time period would see the creation of a new kind of allegorical drama- ( even if the precepts that grounded it’s definition base were ‘static’- in the sense of what theology has become in the west). Yet it might be a mistake to simply assume that the ‘vibrational decisions’ that came through the medieval time period is totally illrelavent at least, this is my viewpoint. The use of symbolic characterizations in the early plays ‘comes with it’s own internal implications – and not all of which is negative. In Everyman, the theater go’er was given an opportunity to experience the kind of story that corresponded to primary zones of experience – as mapped out through the ‘genesis and extended’ Christian religions, and as made real through the ‘endorsement’ of the people themselves.
The conceptual nature of Everyman contained a unique sequential vibrational ‘time-momentum’ that help to usher in fresh strategies and concepts. I experienced this work as a kind of static time-space event that allowed for the introduction of ‘crafted’ character stage- placements’ that in performance could be very effective indeed. In this work the focus of curiosity ( and involvement) shifts from a stage-environment that makes use of the art of ‘dialogue’ strategies and shifting —-. I found the formal devices of the early plays to be quite fascinating: especially the use of a messenger who in effect defines the coming action for both the reader and the audience. All of the approaches are consistent with the forward thrust of trans-European restructural theater. Everyman is a symbolic play structure that commits the components of Elizabethan values systems to the stage – in three dimensional fantasy. This is a play that speaks of individual participation and experience within the ‘vibrational-spectra’ of ‘established imagery’ and relationships. I experienced the work as a kind of monochrome experience that , in taking a ‘narrow motivic logic’ (variables) succeeded in creating a fresh sense of association. In the end there are no surprises in this play – and this is equactly the point. Follow the right path and one will never make waves- either against the church, or against the reshifting ( and expanding) secular powers.
John Marlowe’s’ play Dr. Faustus continues to build on and extend the use of restructural modeling and synthesis first established in Everyman. The play is conceived in accordance to the existing formal and conceptual strategies that characterized image-modeling strategies in the Medieval time period. In the beginning of Dr. Faustus the reader/theater go’er is giving a context of iconargraphic characters that re-enforces the classical ‘established’ arguments of that time period. Dr. Faustus is the story of what can happen when a individual is confronted with a trans-idiomatic information base that extends outside of any one lineage-domain(ie. nationality, community). The forward thrust of the story, on the conceptual level, details the weight of individual ambition in the light of Christian doctrine, while at the same time by posing the drama, Marlowe has crystalize it’s envitable dismiss. As a classical story structure, the play makes full use to Medieval mythological imagrey- both in it’s use of the imagery of the devil, and/or the Angels extending to it’s use of clear concepts of what is good and what is evil. This is also the case for it’s conceptual dynamics- that is, the philosophical message of Dr. Faustus is directly seeded in the changing political and social developments shaping the greater culture . On the other hand, the dynamic implications of ‘Dr. Faustus establishes a restructural use of individuality and ‘extended character development that is unique and broad – with it’s own aesthetic agenda . Dr. Faustus is presented to the reader as a real person, rather than the one dimensional characterizations fashioned in the play Everyman. With the invention of this character Mr. Marlowe would put flesh and bones on the ‘weight of individual ambition and desire’.
The conceptual implications the play Dr. Faustus would extend into many different domains of poetic logics and redefine the ‘scope’ of modern story telling. As a restructured conceptual vehicle, the story of Dr. Faustus would detail the thoughts and travels of a newly ‘learned’ Medieval intellectual in a changing society reacting to composite world change. But as a structural vehicle for performance theater, Dr. Faustus would call for the creation of fresh strategies concerning stage design and ‘the performance space’. The internal nature of the story line would see the emergence of scene changes and time-changes that called for the imaginative development of scenic-imagrey and staging sophistication. First we find our hero in his drawing room thinking about the laws of the universe, next Faustus is in Rome- or in Turkey ( flying on a carpet?). Suddenly, the reader/theater go’er is given an opportunity to experience actual dialogue – between actors and supporting actors who themselves are now presented as three-dimensional entities in a manner that totally extends character modeling and conceptual dynamics. Slowly but surely we are moving into the ‘deeper’ regions of the theater, into the psychological dimensions of the discipline ( into the domain of ‘complex-intentions’ where there are no easy answers). The central theme of the play, on the surface ask the question, ‘what does it gain a man to win the whole world but lose his soul’, when in fact the more interesting question is ‘why didn’t Faustus, when confronted with the existence of Heaven and Hell, didn’t simply renounce the devil and be on the winning team? (let’s face it, this guy was flexible) .
The story of Dr. Faustus combined many of the emerging intellectual and philosophical questions of it’s time period into a summation logic ‘ritual experience’ that commented on the whole of Europe in transition. The form-spread structure of the work employs the use of prologue sections that function in the classical role of a restructural morality play. The growing complexity of Faust’s problems would be used to sort out the ‘real state’ of a changing Europe- because the heart of this drama reflected on the profound weight of both the Christian and Lutheran religions.
THE SPANISH TRAGEDY
Mr. Thomas Kyd’s play, The Spanish Tragedy continues to extend the restructual tradition of trans-European theater. The subject material of this play would establish and forward the techniques and concepts demonstrated in Mr. Marlowe’s work. But the domain of aesthetic’s that allowed for the construction of a play of this type exceeds the parameters of the first two plays. Because The Spanish Tragedy is an extended story that structurally contains multiple levels of ‘dialoque-associations’ and plot (primary and secondary ideas) transformations. To experience this work is to encounter a story-telling ‘state’ that called for fresh demands of both it’s actors as well as the audience. If the first two plays of our class sought to secure the classical imageries of the Medieval time period as a point of(for) symbolic reference (ie. association), that grounded the nature of ‘exchanges’ between actors and ‘event-flow’ of scenic movement, the work of Mr. Kyd would reach out and ‘ensnare’ the audience with a ‘state of action’ that also included events that hinted of ‘historical references’ and a kind of contemporary urgency that ‘must have felt relevant’ to the changing vibrational experiences of European culture in the 1600’s. Where the play’s Everyman and Dr. Faustus dealt with the relationship of man to God, The Spanish Tragedy would bring forth the relationships of men to men in play. It would be ‘through this aesthetic backdrop’ where the reader/play go’er is confronted with the actual decisions that affect cultural solidification and world change . This is a play that reflects on the nature of symbolic gestures ( ie. the concept of a truce between nation, the concept of revenge based on the loss of a son, the concept of love and ‘change’.
EDWARD THE SECOND
The play Edward The Second is the beginning of the ‘internal sutle strategies’ that totally reshaped contemporary theater. This is so because the story of Edward The Second is more than an attempt to simply rewrite history, but rather, this work would serve attention to the use of historical progressionalism was a restructual domain that could be use and altered to serve the needs of creative drama. The forward thrust of this work would establish a fresh spectra of human character traits and motivations. It was not simply a matter that the King’s ship itself had become an available source for dramatic material, rather Edward The Second is presented to the reader/theater go’er in all of his complexity as a human being. Suddenly we are there as witness to Edward’s inexcusable behavior to his friends and to the whole of English culture. Through the dynamics of story telling, the thrust of Edward The Second would give the Medieval theater go’er an opportunity to ‘experience’ the inter-relationship between Edward and his inner circle of associates. The experience of the play sets profound ideas into the ‘air’- ideas about kingship, ideas about the sensitive relationship between leadership decisions and cultural health . But there is more. Because the play Edward The Second also introduces the ‘wonder’ of sexuality and desire. In this work, we are witness to the downward spiral of a king, and his questions about the ‘complexities’ of existence become our questions ( when the play is finished). This is a lesson in historical progressionalism and world history .
The conceptual significance of the play Edward The Second extends into every domain of Elizabethan culture. The vibrational tone and feeling of it’s dialogue has a ‘modernist’ edge that brims with sculpted-invention and character inter-action strategies . More and more Northern European culture began to look at itself and it’s people from a trans-cultural perspective that sought to take in account both it’s historical and present experiences. Not only was Edward presented as a normal human being in the play but now the greater public is allowed in the final chamber death scene as well- this addition was restructural (innovation)- from this point on, the use of death action scenes would become a stable of modern drama. Meanwhile the conceptual design of the play calls for the use of many extra’s, horses, and pageantry.
The play Hamlet ushers in a concept of drama that is mature in it’s conceptual ‘breath’ and intellectually and emotionally awesome in it’s design. Hamlet is a story of revenge and incest, and finally aesthetic transformation (and completion). In this work we are given an opportunity to view the complexities of royal succession and ‘deep family connections’ as well as the transformation of ritual positions of power- and what that means for the individual and greater culture. Yet there is more here, because the forward thrust of the story also touches on the nature of individual relationships (ie. friendship, church and noblemen) profound feelings , including the supernatural. Shakespeare is exploring the psychological terrains of his characters using the accelerated tools of the theater. The aesthetic focus of his work in this context places the attention of the theater go’er/reader into the center of the actual thought processes of his characters . In making that decision, another veal has been ‘taken off’ of ‘poetic reality’ – obscuring the demarcation point that separates the theater from ‘actual life or so-called existential existence’. We are now privy to the character’s inner and outer thoughts. The reality of this phenomenon gives insight into the expanded use of poetic logic constructs that redefined the aesthetic challenge of both theater and the discipline of acting .
Mr. Shakespeare’s play Richard 11 continues to build on the conceptual framework of the previous plays. In itself, Richard 11 is not so much a restructural play that has created a fresh conceptual ‘line’ ( in a manner unique unto itself) as much as another demonstration of the reservoir of existing methodologies ( and strategies) available to the medieval playwright in that time period. The significance of the play lies not so much in it’s subject material (or contexting of events) but rather, how it continues a kind of particular aesthetic penetration into the psychological dimensions of ritual power and ‘deep feelings’. Richard 11 is the story of symbolic power and the balance of forces that allow for stability (evolutionary and/or de-evolutionary). In this fantasy world we are able to view the changing fortunes of a king near the end of what before had been a successful reign…. ‘The story has now become the thing!”. Yet, even in this context Shakespeare has particular experiences he wants to direct our attention to. Richard 11 is a play that throws philosophical questions to the audience- “is Richard the real king or not! (?)” ( it seemed like everyone was nervous about this guy bein’ around, now that he wasn’t king- even I got nervous just thinking about it) (smile). Richard 11 is a play about loyalty and symbolism. The character —– did not hesitate to accept the verdict of the king (which in this case was exile) and did not return to England until it was possible to change his name. It was because of ritual loyalty that Richard was able to unfairly tax his subjects ( and seize their lands and possessions). Shakespeare is giving us an inside look at human nature from the top looking downwards.
In this paper I have tried to view the progressional evolution of Medieval theater as a consistent phenomenon that actualized from (and/or through) the composite aspirations of trans-European culture ( and it’s related information complex). There is, of course much more to this subject than any one inquiry approach (perspective). But from the vantage point of the first five books we have read thus far, I would write of Medieval restructural theater as a discipline that attempted to view dynamic imaginary experiences, based on a given experiences’ relationship to Classical (imploding) and polarity (exploding) forces throughout transitional Europe – in the time period that we now refer to as the emergence of the Elizabethan- near the end of the middle ages (with the ‘vibrational-winds’ of the Enlightment period approaching). The wonder of this continuum would redefine both the role of theater and the methodologies needed to actualize ‘creative intention’. Our readings thus far has ‘opened the door’ to a world of imagery that, in Everyman established a world of symbolic associations that rejoiced in the ‘security’ of spiritual definitions’ on through to ‘the individual as over achiever (who in his ambition, confused his individual potential with God’s potential) (Dr. Faust), extending to experience a concept of royalty that allowed personal erotic attractions to obscure the significance of ritual responsibility (to the composite community who depends on this historical balance) (Edward 11), and along the way we have thus far had an opportunity to experience ‘profound connections’ between father and son (Hamlet) and finally finishing with the story of a king who maybe should have left for Scotland. The opportunity to read these plays has been totally revealing and rewarding.