; Catholic Theatre and Drama: Critical Essays, A ..
catholic theatre and drama critical essays ..
Patrick Tuite is the Chair of the Department of Drama at The Catholic University of America, where he runs the M.A. program in theatre history and criticism and teaches graduate courses in early-modern drama. He has published articles in Youth Theatre Journal, Theatre InSight, and The Drama Review. His essays also appear in anthologies entitled Audience Participation: Essays on Inclusion in Performance (Greenwood Press, 2003), Second Star to the Right: Peter Pan in the Popular Imagination (Rutgers University Press, 2008), and World Building and the Early Modern Imagination (Palgrave-MacMillan, 2010). In 2010, Susquehanna University Press published his book, Theatre of Crisis: The Performance of Power in the Kingdom of Ireland, 1662-1692. He was recently a fellow at the Folger Shakespeare Library, where he completed an essay that examines how the aesthetics of radical dissenters impacted the staging of the execution of King Charles in 1649. Ashgate will publish the essay in 2015. He has also started to work on his second book, Dramaturgy in the Age of Monarchy: New Play Development in Ireland, 1662-1665. Finally, he teaches a seminar in Dublin through CUA’s study abroad program titled .
Faculty Profiles - Department of Drama
Medieval Iberian theater and performance maintains a peculiar status within, and between, performance and medieval disciplines. In theater studies, medieval Iberia has received minimal scholarly attention, and standard theater history textbooks contain only traces of Iberian material, if any at all. Despite the existence of Catalonian and Castilian archival materials that indicate performance traditions unique to the peninsula, scholars of Spanish literature (outside of the notable exceptions below) generally view Iberian medieval theater as an anomaly. One of the main reasons for this situation is that Iberian theater has yet to emerge fully from traditional historiographic parameters predicated upon the narratives and liturgical forms of the Christian Church. The dearth of liturgical performance evidence in Castile—whether due to the dominance of the Mozarabic rite on the peninsula through the 11th century, Muslim occupation, Iberia’s unique religious and cultural history, or the destruction of church documents—should not preclude future research into Spanish medieval theater. The broader field of medieval European theater has moved forward to embrace a wider range of public acts, including jongleur performance, mock battles, performative reading and viewing, devotional practices, festivals, tableaux, court entertainments, and processions, and new approaches and forms of performance are just beginning to take hold in Spanish studies. The second reason for the discipline’s uncertain presence in the academy has to do with the linguistic and cultural heterogeneity of the medieval geography we now call Spain. Prior to unification under the Catholic monarchs, Aragon, Andalusia, Castile, Catalonia, and Galicia were at one point or another autonomous political kingdoms with unique religious, linguistic, literary, and performance traditions. Despite decades of Francoist polemical historiography that stunted research and promoted a nationalist narrative of Castilian, Catholic centrality, the medieval performance archive reveals diverse, regional traditions. It is perhaps the motley complexion of Iberian performance that has discouraged theater scholars from entering the field. Despite these hurdles, important foundational scholarship, new discoveries, and interdisciplinarity, provide the bases for continued growth of an Iberian performance discipline. Charlotte Stern’s call in (, cited under ) for a “new poetics” appears to be taking hold: other scholars have embraced performance theory in their work, made inroads into aspects of popular entertainments, considered Islamic and Jewish participation in performance culture, and broadened the conversation by examining scenography and theatrical space. This article bridges the gap between old and new scholarship by including traditional texts and approaches along with primary materials often excluded from the conversation on Iberian drama, as well as critical works that engage the subject matter in an interdisciplinary manner.