The prophet Elijah has represented both historical developments for the Jewish people, and archetypical representations of the power of God over Nature. For some Elijah also symbolizes the artist who is able to create a better world. Alongside artistic and music director Carmen-Helena Tellez Notre Dame and distinguished stage director Anton Juan Notre Dame , the Dante Project has recruited the co-creative participation of several Notre Dame faculty and student artists.
The project explores expressive spaces in the campus of the University of Notre Dame, addressing the relationship between performance, architecture, natural environment, and the daily flow of student life.
New collaborations have emerged between faculty and students of diverse departments, and students have begun creating interdisciplinary projects of their own. New works of art now exist beyond the performance of the dramas, and a more fertile ground exists for future permanent interdisciplinary initiatives, now under discussion. View the current projects. Don Crafton, Film Studies Prof. Susan Ohmer, Modern Media Prof. Richard Gray, Fine Arts Prof. Copyright Sacred Music Notre Dame The Easter Plays were the core of medieval performance within the liturgy, but there were additional forms such as saints' plays , miracle stories , legends , and apocalyptic plays.
The largest part of plot material is taken from the Bible or Christian legend. Contrary to earlier theories tracing the development of European theatre from the Catholic liturgy, there is no logical or chronological development in the various play texts from the Middle Ages; the scope of the text, its complexity, and its dramatic structure of the many sources known today  do not develop in a systematic manner.
Another widespread misunderstanding of medieval performance forgets that music always played an important part in liturgical rites and plays. The rites in Latin were always performed in a church, in the context of a liturgical ceremony. Since they are so strongly integrated into the liturgy Mass or Liturgy of the Hours , it is questionable whether or not they count as performance. Latin-language plays were also performed in churches without a liturgical context.
Keep Exploring Britannica Christianity. Mellon Foundation to develop sacred music dramas, conceived broadly as opportunities to reflect on important issues in culture and society through a dynamic interaction of the humanities and the arts. The project explores expressive spaces in the campus of the University of Notre Dame, addressing the relationship between performance, architecture, natural environment, and the daily flow of student life. Retrieved from " https: Susan Ohmer, Modern Media Prof. Don Crafton, Film Studies Prof. Chamber Choir The Chamber Choir rehearses and performs the complete spectrum of literatures appropriate for chamber chorus.
Vernacular plays were most often performed in public spaces outside of the church, usually on mansion stages on the public square. Stage sets representing heaven, hell, Pontius Pilate 's house or the Holy Sepulcher were erected on the stages. To speak of actors is only pertinent to the plays; in the church, the rites were performed by clerics and monks who did not consider themselves to be acting in any amateur or professional sense.
A director of sorts arbitrated between the stage and the audience; he commented upon the scene, narrated passages and kept order. While most performances were limited to a few hours, some plays could reach monumental proportions: The Passion-Play of Bolzano took seven days in , and the one staged at Valenciennes in , a total of While liturgical rites are a constant in Christian life, plays are not.
There are passages of European history in which plays are all but unknown.
The medieval city was a performance-friendly culture. Clerics and trade fraternities encouraged stage performance in the church and outside of it.
“The indelible imprint of sacred music drama throughout history is undeniable and its resurgence in the twentieth and twentieth-first centuries stirs the. The indelible imprint of sacred music drama throughout history is undeniable and its resurgence in the twentieth and twentieth-first centuries stirs the curiosity.
Amateur actors were recruited among the ranks of schoolboys and trade apprentices. Topics performed were predominantly taken from Christian sources, yet comic and contemporary topics were omnipresent in almost all performance, in a more or less discreet manner. Improvisation was a crowd-pleaser.
Since Christian liturgy is the re-enactment of crucial moments in Christ's life, it comes as no surprise that medieval performance blurs the distinction between reality and the fiction being presented to the audience. Antisemitic violence could occur after the crowds had witnessed a Passion-Play; sometimes members of the audience would interrupt the performance by jumping into the scene in order to "save" the suffering Christ.