Mystery play

Mystery plays are formal dramatic performances that represent Bible stories. They were among the earliest developed plays in medieval Europe. The name comes from the religious meaning of the word mystery, which refers to a miracle. These plays allowed people to witness sacred history through performance. They often depicted major events like the Creation, the Fall of Adam and Eve, or the Last Judgment.

The process of these plays evolved from simple religious services. As early as the fifth century, living tableaux—which are motionless, lifelike scenes—were used in sacred services. These began as simple tropes, or verbal additions to liturgical texts. Over time, they became more elaborate by adding chants from the daily service to prose dialogue. Eventually, these performances moved from the church to the public stage. Early versions were performed in Latin and included a prologue spoken by a herald. This herald provided a synopsis, or a brief summary, of the events to the audience.

As the popularity of these dramas grew, several distinct stages and types emerged. One notable early form was the Quem quaeritis?, a schematic dialogue between an angel and women at the tomb of Christ. Later, vernacular forms appeared, meaning the plays were performed in the common language of the people rather than Latin. This shift allowed for more complex characterization and the addition of comic scenes. Another distinction exists between mystery plays and miracle plays. While mystery plays focus on biblical events, miracle plays specifically re-enact the miraculous interventions of saints, such as Saint Nicholas or Saint Mary.

The history of these plays changed significantly due to official rules. In 1210, Pope Innocent III issued a papal edict. He was suspicious of the growing popularity of miracle plays and forbade clergy from acting on public stages. This forced the organization of the dramas to transfer to town guilds. These craft associations took responsibility for producing the plays. However, the genre faced another major change during the Reformation in 1534. The establishment of the Church of England led to the banning of these plays in many areas.

In England, these plays often formed massive cycles known as Corpus Christi cycles. These cycles could be incredibly large and take up to twenty hours to perform. Because of their length, they were often spread over several days. Different cities had different sized collections. The York cycle consisted of forty-eight pageants, which are individual dramatic episodes. The Towneley plays included thirty-two pageants. The Chester cycle contained twenty-four pageants.

Specific guilds often sponsored plays that matched their own trades. This connection helped the community feel a sense of pride and ownership. For example, the York mercers sponsored the Doomsday pageant. Carpenters might present the building of Noah's Ark. Bakers could perform the miracle of the five loaves and fishes. Goldsmiths often presented the visit of the Magi, who brought offerings of gold, frankincense, and myrrh.

These traditions continue to influence modern culture and performance. In the United Kingdom, the York and Chester cycles were revived in 1951 as part of the Festival of Britain. They are still performed by local guilds today. Other revivals include the Lincoln mystery plays and the Lichfield Mysteries. Even the National Theatre has worked on these traditions, creating a re-working of the Wakefield Cycle.

In Spain, the Misteri d'Elx has been performed every year since the 13th century. This continuous tradition is so significant that UNESCO named it a Masterpiece of the Oral and Intangible Heritage of Humanity.