This unit we will be discussing performance, drama, and theatre in the Middle Ages. But what do we mean by “medieval theatre?” We are talking about a time period that spans approximately 1000 years. These are theatrical or dramatic activities that exist in more than a dozen languages and a variety of genres. In this unit, we will learn about some of these genres and discuss two plays: Hrotsvit of Gandersheim’s Dulcitius and the French farce Cooch E. Whippet.
Religious Plays: Corpus Christi and Cycle Plays
The types of performance in the Middle Ages can be roughly separated into two categories: religious plays and secular plays. Religious plays could arise from existing spectacle, pageantry, and ceremony, such as the Corpus Christi pageant. Corpus Christi is a Christian feast in honor of the Eucharist as the blood and body of Christ and was established in 1264. The Mass on the Feast of Corpus Christi is typically followed by a procession of the Blessed Sacrament, or the body and blood of Christ in the form of blessed bread and wine, which is displayed in an ornamental vessel called a monstrance. Most Protestant denominations do not recognize the Feast of Corpus Christi, but the feast day is still celebrated by the Catholic Church.
The Feast of Corpus Christi was associated with cycle plays. Cycle plays began as biblical dramatizations – the earliest example was Quem quaeritis, or “Whom do you seek?” from 925 – but evolved into a series of plays featuring significant stories from the Old and New Testaments, such as the Creation and the Last Judgement. In 1210, the pope forbade the clergy from performing onstage, so secular guilds took control of organizing and putting on these town-wide cycle plays.The cycle plays of York are one of approximately four extant cycle plays that were performed on the Feast of Corpus Christi. Traditionally each guild would be responsible for one play. For example, the fishers would perform the story of Noah and the Ark, the butchers would perform the Mortification and Burial of Christ, and the carpenters would perform the Resurrection. There were a total of 48 plays spanning from Creation to the Last Judgement. The cycle plays in York were suppressed after King Henry VIII split from the Catholic Church and established the Anglican Church in the 1530s, but there have been several modern revival movements and performances of these cycle plays.
Other medieval religious plays included hagiographic plays, which dramatized the lives of saints. As we will see in the next section, and as you read for the primary source readings for this unit, Hrotsvit of Gandersheim’s Dulcitius draws heavily from the Christian hagiographic tradition.
Secular Plays: Farce
Religious plays were not the only plays performed in the Middle Ages. Farces were secular (i.e. non-religious) plays which focused on the daily lives of peasants and domestic situations. These plays were characterized by bawdy, slapstick humor and absurd situations. In particular, emphasis was placed on sex and bodily functions, so the texts are full of innuendos and double entendres.
As a specific genre of comedy, farce plays had a set of stock characters and themes. For example, a shrewish wife, cuckold husband, and lustful priest (as we saw in Cooch E. Whippet) were common character types in farces. Similarly, themes of trickery, adultery, marital authority, absurd bets, misogyny, and sexual violence were common throughout the genre. The farce was not solely for entertainment: these often obscene and ridiculous stories answered, in a humorous way, some of the most controversial questions of the Middle Ages including questions about politics, religious, class structure, and authority between men and women.Jody Enders, the translator of several farce plays, suggests that The Farce of Martin of Cambray answers the questions about what a woman should do “about that dolt of a husband who’s always locking you up inside the house” (Enders 3). The farce is based on a famous proverb about Martin de Cambray who was a cuckold who was mocked for being “belted at the ass.”
It is important to note that the style of translation Jody Enders attempts is very non-traditional. She calls her translation “anything-but-literal” and translates for sense and is not translating the text literally. This is why you will see references to American popular culture and slang pop up throughout the text.

