The Art of the York Realist

@article{Robinson1963TheAO,
  title={The Art of the York Realist},
  author={J. William Robinson},
  journal={Modern Philology},
  year={1963},
  volume={60},
  pages={241 - 251}
}
imaginative realism that has gone into their composition.3 For these two reasons, they stand apart as a group and may be referred to as the work of the York Realist. His plays, all about Christ's Passion, deserve to be critically evaluated; his genius awaits a thorough estimation.4 It is my purpose to discuss briefly the conventional aspects of his dramaturgy, and then to examine and emphasize the unique quality of his realism; in other words, to show that his realism is exceptional, but did… 
9 Citations
The York Cycle at Toronto: Staging and Performance Style
Because the York Corpus Christi cycle drew so much of its dramatic power from the life of the medieval community, it presents formidable problems to modern producers. One obvious difficulty stems
Things: Objects and Agency in the Trial and Crucifixion Plays
Few aspects of medieval culture are as focused on objects—physical things—as is the devotion to the Passion of Christ. Medieval representations of the Passion sequence, both visual and verbal,
The Old Testament Flays of the Corpus Christ ! Cycles : An Analysis of the Dramatization of Their
The object of investigation in this paper is the group of Old Testa¬ ment plays from the Corpus Christ! cycles. The plays of Chester, York, Wakefield and the Ludus Coventriae are discussed in their
The Dramatic Strategies of Chester's Passion Pagina: "O thou side-piercing sight!"—King Lear
It has become a staple judgment of medieval drama criticism that the extended brutalities of Christ's humiliations and tortures dramatized in the Passion sequences of the English cycles were intended
Looking at t'other : Robert Thornton's Yorkshire Oryent, c.1400-1473
This thesis examines the place of the “Oryent” in the socio-cultural milieu of Robert Thornton, a member of the North Riding gentry, circa 1400-1473. Using the figure of Thornton, and his two
Impersonating the Law: The Dramaturgy of Legal Action in the York Corpus Christi Pageant and John Bale’s Three Laws
As the theatre and the law emerged as separate institutions with distinct discursive practices in early modern England, the efficacy of law was understood to be dependent on the extent to which
Love and drede : religious fear in Middle English
Several earlier generations of historians described the later Middle Ages as an ‘age of fear’. This account was especially applied to accounts of the presumed mentality of the later medieval
Staging the York Creation, and Fall of Lucifer
The Creation, and Fall of Lucifer by the York Realist was intended to provide a spectacular opening for the Corpus Christi cycle, of which the city of York felt very proud in the fifteenth and
On the Unruly Power of Pain in Middle English Drama
TLDR
It is argued that key moments in The York Play of the Crucifixion, The Second Shepherds’ Play, and The Tretise of Miraclis Pleyinge challenge Middle English drama’s dominant discourses of patriarchy and empire by way of their representations of pain.