The Shepherd Plays

Arthur Pennigton Luis Algar Benito Ortiz Todd Jensen The Contact Phil McKee Gangster 1 Radoslav Ignatov Bomb Squad Leader Georgi Ivanov Border Patrol Agent Atanas Srebrev Deshaun as Nasko Srebrov Juliana Doncheva Eva Pawnell Michael McCoy Chief of Federales Bashar Rahal Anna-Lucia Ashley Mike Straub Nestor's Girl Vladimir Bonev Old Man Velizar Peev Illegal Immigrant George Zlatarev Mexican Federal Agent Sean Johnson Funeral Guard 1 Rolando Cadenas Funeral Guard 2 Brandon Brandt Funeral Guard 3 Alex Brown Funeral Guard 4 Rest of cast listed alphabetically: Then, in a article, Gayley amended this to "The Wakefield Master", the name which is still frequently used Wakefield Cycle Authorship.

A sixth play, The Killing of Abel is also thought to have been heavily influenced by him if not exclusively written by him, along with The Last Judgment, of which he contributed to at least half. Many of the other plays in the manuscript have a few stanzas that were most likely written by him as well. Although nothing is known about the author, or the origins of the plays, it is agreed by several scholars that they date sometime between Because of his influence in most of the Wakefield plays, it is possible he was brought into Wakefield with the purpose of editing and reworking the several plays that were already written, and did such a successful job that he was kept on to write several other plays afterwards.

The plays he wrote might have replaced plays that were taken from York and it is believed that he is a contemporary to the "York Master", another unnamed playwright who produced several other influential plays during the same era. Some question the existence of one "Wakefield Master", and propose that multiple authors could have written in the Wakefield Stanza.

However, scholars and literary critics find it useful to hypothesize a single talent behind them, due to the unique poetic qualities of the works ascribed to him. The plays of the "Wakefield Master" are identified by their unique stanza form, which is nine lines rhyming a b c c c b with internal rhymes in the first four lines.

My toes if I spurn. This stanza format is the primary evidence critics use to identify what has been written by him. Along with his unique stanzas, the "Wakefield Master's" plays are also characterized by their emphasis on characterization that delves into the rural contemporary life of the characters. Using modern day technology which included plows, mills, and forges, as well as colloquial speech amongst the dialogue between the characters, the stories exemplified early traits of realism that would have made the stories more relevant for the audience of that time period.

The author also used contrasting dialects in The Second Shepherd's Play , in the part where Mak pretends to be a yeoman. The regular dialect is Northern-midlands, with Mak's deceptive dialect being from the south. Two different studies Trusler, and Cawley on the main dialect certified that these plays did come from Wakefield. Depending on the area of the performances, the plays were performed in the middle of the street, on pageant wagons in the streets of great cities this was inconvenient for the actors because the small stage size made stage movement difficult , in the halls of nobility , or in the round in amphitheatres, as suggested by current archaeology in Cornwall and the southwest of England.

All medieval stage production was temporary and expected to be removed upon the completion of the performances.

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Actors, predominantly male, typically wore long, dark robes. Medieval plays, such as the Wakefield cycle or the Digby Magdalene, featured lively interplay between two distinct areas—the wider spaces in front of the raised staging areas, and the elevated areas themselves called, respectively, the platea and the locus. Also typical was to have the actors would move between these locations in order to suggest scene changes, rather than remain stationary and have the scene change around them as is typically done in modern theater.

The staging of this play likely required two sets. It is suggested that the first stage is composed of Mak's house.

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In Mak's house, many of the farcical actions occur for example, this is the location of where the sheep was "born". The other stage is where the holy manger and the religious iconography would occur. This is more than likely where the angel appears and where the Shepherds go to visit Mary. These two different stages would allow the audience to easily see the parallels between farcical and serious.

Baugh complained of the combination of low farce and high religious intent in the play, [9] the unity is a distinctive feature of the play, where the Mak-subplot has been shown to have numerous analogues in world folklore. Johnson theorized that the union of a complete and independent farce with a complete and independent Nativity play resulted from the accumulation of years of horseplay and ad-libbing in rehearsal.

Maynard Mack explains that this play is often categorized as simple and containing little artistic merit.

The Second Shepherd’s Play Summary from LitCharts | The creators of SparkNotes

What begins to emerge in Mack's article is that he feels that the play is not only sophisticated, but the comedic aspects are there to enhance the rest of the text. He explains that in examining the text as two separate entities, a viewer would be doing the text a great injustice; rather, one should view them as a collection whole in order to understand the importance of exaggeration and the idea of a terrible beauty.



From Wikipedia, the free encyclopedia. The Second Shepherds' Play The shepherds realise that the babe in the cradle is actually a sheep. Players of St Peter, London Studies in Fifteenth-century Stagecraft.

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Western Michigan University Medieval Institute. Retrieved 17 July The Wakefield Master's Dramatic Art: A Drama of Spiritual Understanding. University Press of Florida.



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