Directing Mankind in the Twenty-First Century

Abstract

This article recounts the ‘period staging of the medieval morality play Mankind as a practice-as-research project. As a theatre practitioner and medievalist, I sought to explore the symbolism, ritual nature and festive drama of the play, informed by wide-ranging historical and cultural research. Mankind is a Shrovetide drama, and at its heart is a battle played out between the forces of Carnival and Lent. Attentive consideration needs to be given to both the sacred and profane, therefore: to liturgy, scripture and religious practices on the one hand; and to the gamut of carnivalesque utterances and performance styles on the other. The play articulates a struggle between the soul and body, and due attention is given to embodied performance as well as to body politics; and to disturbing views about sexuality and women. The Mankind script is considered a dramaturgical masterpiece. By referring closely to it — to its plot twists and divergent discourses — I seek to explain the choices behind my directorial interpretation, in terms of scenography, characters, acting styles, costumes and stage properties. I draw attention to striking and illuminating affinities with contemporaneous French festive drama and contend that it is essential to honour the didactic and emotional integrity of Mankind which still speaks to us across the centuries.