PhD thesis | Preliminary research proposal

Having explored the performance of piety in medieval York for my MA thesis, my doctoral research will expand on this by examining how and why the city’s cycle of medieval mystery plays has been revived in (and for) the present day, becoming an integral part of modern-day York’s identity and culture. I aim to identify the cultural need which has looked to revive and sustain the York play cycle for modern and local purposes, working towards a fuller understanding of the enduring attraction of the mystery plays, and their apparent resilience, or adaptability, to huge changes in culture, language and religious belief.

An important aspect of modern revivals is dealing with the cycle’s overt Christianity. In a multi-cultural, increasingly secular society, the medieval idea of ‘the plays as piety’ no longer holds true. Nor does the cycle’s medieval function as a vehicle for religious expression and a medium for working through religious and theological tensions and concerns. Why, then, do the plays continue to capture the imaginations of both directors and audiences? Modern productions of the plays typically place emphasis on the cycle’s communal and social aspect as well as its importance to York’s cultural and social heritage. Arguably, these were roles also performed by the plays in the Middle Ages. Nevertheless, the cycle’s religious heritage is undeniable; directors must find a way to balance this with the beliefs (or lack thereof) and expectations of modern audiences.

Paying particular attention to the 1951 Festival of Britain revival (the first large-scale production of the plays since the Middle Ages) and subsequent productions, consideration will also be given to the logistics of staging modern productions of the play cycle and the many decisions any director must make - which text or script should be used? Should the language be modernised or the Middle English retained? Which sections of the cycle should be included and which left out, or should a performance of the entire cycle be attempted? How can these medieval religious plays be presented in a way that makes them accessible and relatable to a modern audience? Should the plays be staged in the ‘traditional’ manner on pageant wagons, or on a fixed-place stage? To what extent should the audience be involved in the performance?

Watch this space...