Abstract
Is the the Ordo virtutum by Hildegard of Bingen a theatrical text? This article addresses the problem of its scenic representation and discusses if a real theatrical purpose could be found in the intentio operis. The composition reveals a certain immovability and a descriptive, non-performative kind of action in its dialogue. With respect to Scivias and the Symphonia armonie celestium revelationum, we assume that the Ordo virtutum is an ascetic-mystical chant, perhaps included in the lost liturgy of the Rupertsberg monastery.
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