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 271 389

PART 3 PART 4
Theatres from Modern Theatres
1660 to 1875 Chapter 12 Theatres from 1875 to 1915 393

Chapter 9 The Theatre of the English Chapter 13 Theatres from 1915 to 1950 437
Restoration 273 Chapter 14 Theatres after 1950: Traditional and
Chapter 10 Theatres in the Eighteenth Experimental 479
Century 303 Chapter 15 Theatres after 1950: Multicultural
Chapter 11 Theatres from 1800 to 1875 343 and Global 537

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 Contents

Preface xvii How Do Scholars Study Theatre History? 23

About the Authors xxii Where Do Theatre Historians Present Their
Work? 24
Theatre in History: Points to Remember 24
CHAPTER 1 ■ Debates in Theatre History: Is There a Canon of
Dramatic Texts? 26
Theatre: Its Origins and Summary 28
Its History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Why Should We Study Theatre History? 3
Theatre Is Universal 5
Theatre in Everyday Life 5
PART 1
Imitation, Role Playing, and Storytelling 6
Popular Entertainment 6 Early Theatres 31
Ceremonies and Rituals 7
Participatory and Immersive Theatre 12 CHAPTER 2
Prohibition of Theatre 12
How Historians Reconstruct the
Greek Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Elements of Theatre 14 Background: The Golden Age of Greece 33
A Playing Space 15 Origins: Greek Theatre Emerges 36
The Audience 15 Theatre in the Fifth Century B.C.E. 37
The Performers 15 Greek Theatre and Greek Religion 37
Visual Elements 15 Festivals and the City Dionysia 37
Texts 16 ■ Debates in Theatre History: Did Women Attend
Coordination of the Elements 16 Dramatic Festivals? 39
Social Requirements 16 ■ Past and Present: Theatre Festivals Today 41
The Study of Theatre History 17 Greek Theatre and Greek Myths 42
Traditional Chronological Narratives 17 Greek Tragedy 42
Recent Historical Approaches 18 Climatic Drama and Greek Tragedy 49

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 Satyr Plays 53 The Decline of Roman Theatre 92
Old Comedy 54 Summary 93
Greek Theatre Production 56
■ Debates in Theatre History: The Configuration of the
Greek Orchestra and Skene 57 CHAPTER 4
Theatre in the Hellenistic Age 63 Early Asian Theatres . . . . . . . . . . . . . . . 95
Hellenistic Theatres 63
■ Past and Present: The Theatre of Epidaurus 64 Background: The Theatres of Asia 95
Hellenistic Acting 66 Indian Theatre 97
New Comedy 67 Sanskrit Drama 98
Summary 69 Later Indian Drama 101
Chinese Theatre 101
Early Theatre in China 102
CHAPTER 3
Theatre in the Yuan Dynasty 103
Roman Theatre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 ■ Debates in Theatre History: Did Playwrights in the Yuan
Period Create Tragedies? 105
Background: The Republic and the Empire 71 Theatre in the Ming Dynasty 106
The Development of Roman Theatre: Popular Later Chinese Theatre 107
Influences 74 Japanese Theatre 107
Roman Comedy 77 Early Theatre in Japan 108
■ Debates in Theatre History: Was Terence the First No- 108
Black Playwright? 81
Bunraku 112
Roman Tragedy 81
Kabuki 115
Dramatic Criticism in Rome 83 ■ Past and Present: Kabuki 119
Theatre Production in Rome 84 Southeast Asia: Shadow Plays 120
Actors and Acting Companies 84 ■ Past and Present: Puppetry 123
Theatre Buildings and Scenic Elements 85
Summary 123
Popular Entertainment in Rome 88
■ Past and Present: The Colosseum 91

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 CHAPTER 5
Medieval Theatres PART 2
in Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Background: The Middle Ages 125
Theatres of the
Byzantium: Popular Arts and
Theatrical Preservation 128
Renaissance 157
The Middle Ages in Western Europe 128
CHAPTER 6
Liturgical Drama 132
Development of Medieval Liturgical Drama 132 The Theatre of the Italian
■ Debates in Theatre History: Why Was Hrosvitha
Ignored for So Long? 133 Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Producing Liturgical Drama 134
Background: The Renaissance in Italy 159
■ Debates in Theatre History: The Origins of Medieval
Theatre and the Role of Quem quaeritis 136
Italian Theatre 162
Drama 162
Early Medieval Theatre in France 136
■ Debates in Theatre History: Adaptations as
The Development of Religious Vernacular Drama 137 Sources of Drama 164
Mystery or Cycle Plays 138 Opera 166
English Cycle Dramas and The Second Shepherds’ Play 140
Commedia dell’Arte: A Popular
The Emergence of Episodic Form 140 Theatrical Form 167
Producing the Cycle Plays 142 ■ Past and Present: Improvisation 171
■ Past and Present: Passion Plays 143 ■ Debates in Theatre History: Women Performers in
■ Past and Present: Street Theatre 150 Commedia dell’Arte 172
Morality Plays 150 Italian Theatre Architecture 173
Everyman 151 Theatre Buildings 173
Producing the Morality Plays 152 ■ Past and Present: Teatro Olimpico 174
Secular Theatre in the Middle Ages: Audience Seating 177
Popular Forms 152 Scene Design and Early Theatre Technology 178
The Decline of Religious Theatre 154 ■ Debates in Theatre History: What Is the Exact
Summary 155 Origin of the Proscenium Arch? 179
Italian Dramatic Criticism 184
The Neoclassical Ideals 184

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 The Neoclassicists’ Influence 187 Acting Practices 219
Issues of Dramatic Criticism 187 Representation of Female Characters in Elizabethan
Theatre 220
The Legacy of the Italian Renaissance 189
■ Debates in Theatre History: Elizabethan Acting Style 221
Summary 189
Jacobean and Caroline Drama 222
Court Entertainment: The Masque 226
CHAPTER 7 Summary 229
The Theatre of the English CHAPTER 8
Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 The Spanish Golden Age
Background: The Renaissance in England 193
The Early Drama of the English Renaissance 193
and French Neoclassical
Elizabethan Drama 195 Theatres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Elizabethan Playwrights 196
Background: The Spanish Golden Age 233
Marlowe and the Mighty Line 196
Religious Theatre in Spain 234
Shakespeare’s Skill and Diversity 200
Religious Dramas: Autos Sacramentales 234
■ Past and Present: Shakespeare Four
Producing the Autos Sacramentales 234
Centuries Later 202
Secular Theatre in Spain 235
Elizabethan Theatres 203
Comedias 236
Theatres and Production Practices:
Problems of Research 203
Spanish Dramatists 238
Female Playwrights 242
■ Debates in Theatre History: Who Wrote
Shakespeare’s Plays? 204 Producing the Comedias 242
Public or Outdoor Theatres 207 The Corrales 242
Private Theatres 213 ■ Debates in Theatre History: What Was the Appearance
of the Corral del Principe? 244
■ Debates in Theatre History: The Campaign to
Scenery, the Stage, and Costumes 245
Save the Rose and Its Impact 214
■ Debates in Theatre History: A Lost Spanish Popular
Scenery and Costumes 216
Entertainment? 246
Elizabethan Acting Companies 217 Acting Companies 247
The Lord Chamberlain’s Men 217 The Status of Actresses 247
The Admiral’s Men 218 Background: France in the Sixteenth and
Organization of Acting Companies 218 Seventeenth Centuries 248

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 French Drama 250 Serious Drama 278

Early Drama, Popular Theatre, and Pageantry 250 Restoration Comedy 279

Neoclassical Drama 251 The Transition from Restoration Comedy to

Ballet at Court 258
Eighteenth-Century Drama 286

Theatre Production in France 259 Restoration Audiences 288

Architecture, Scenery, and Technology 259 Performers 289
Acting 261 Actresses and Actors 289
■ Past and Present: The Comédie-Française 263 Acting Companies 293
■ Debates in Theatre History: Should We Envy Europe’s Restoration Theatres 294
National Theatres? 266 Government and the Theatres 294
Audiences 268 Theatre Architecture in the Restoration 295
Summary 268 ■ Debates in Theatre History: The Dorset
Garden Theatre 296
Scenery, Scene-Shifting Technology,
Costumes, and Lighting 297
■ Past and Present: The Drury Lane Theatre 298

PART 3 Threads in Theatre History 300

Summary 300

Theatres from
CHAPTER 10
1660 to 1875 271 Theatres in the Eighteenth
CHAPTER 9 Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
The Theatre of the English Background: The Eighteenth Century 303
Eighteenth-Century Drama 306
Restoration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Middle-Class Tragedy 307
Background: The Restoration 273 New Popular Forms: Ballad Opera and Comic Opera 309
Theatre during the Commonwealth 276 Sentimental Comedy and Laughing Comedy 310
The Theatre of the Restoration Begins 276 Comedy in Eighteenth-Century France 313
Restoration Drama 278 Storm and Stress 314

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 Audiences 350
Theatre Riots 350
Theatre and Nationalism 351
Nineteenth-Century Drama 352
Romanticism 353
Melodrama 354
■ Past and Present: Melodrama 357
The Well-Made Play 357
Nineteenth-Century Theatre Production 359
Acting Styles 359
Acting Theory: Delsarte 363
The Acting Profession 364
Further Steps toward Directing 368
Theatre Architecture 374
Realism and Departures from Realism in Commedia ■ Past and Present: The Bayreuth Festspielhaus
dell’Arte 315 and Festival 378
Melodrama: A Popular Genre Emerges 317 Scenery, Costuming, and Lighting 379
Theatre Regulation 317 Nineteenth-Century Global Theatre
Regulation of Theatres in France 317 Trends: Russia 382
Government and Theatre in Germany 318 Global Theatre: Asia 385
Regulation of Theatres in England 319 Peking (Beijing) Opera: A Nineteenth-Century
Theatre Buildings 319 Development 386
Covent Garden 319 Summary 386
Theatres in Europe 321
■ Past and Present: Drottningholm Theatre 322
Theatres in America 323
Theatre Production 325
Scenery 325 PART 4
Scenic and Technical Experiments 327
■ Debates in Theatre History: When Was Modern
Theatres 389
the Box Set Introduced? 328
Costumes 328
Acting 329
The Early Emergence of the Director 334 CHAPTER 12
■ Debates in Theatre History: Who Was the
First Director? 336 Theatres from
■ Past and Present: Actor-Directors 338
Summary 341
1875 to 1915 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Background: The Turn of the Century 393
CHAPTER 11 The Emergence of Realism 395

Theatres from Realistic Drama 396

Naturalistic Drama 399
1800 to 1875. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Producers of Realism and Naturalism 400
Realistic Acting 408
Background: The Nineteenth Century 345
Visual Elements in Realistic Theatre 412
Theatre in Nineteenth-Century Life 347
The Emerging American Theatre 412
Popular Entertainment 347
Early American Realism after 1875 412
■ Debates in Theatre History: Is Popular Entertainment
Worthy of Serious Study? 349

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 Early Departures from Realism 414 Surrealism 443
Symbolism 414 The Bauhaus 444
Wedekind, Ibsen, and Strindberg 415 Theatre of Cruelty 445
Producing Departures from Realism 417 Epic Theatre 446
Eclectics 424 European Theatres during the War Years:
Popular and Commercial Theatres 425 Additional Innovations 451
■ Debates in Theatre History: Why Are Women’s France 451
Contributions to Theatre History Overlooked? 427 Spain 452
Multicultural Theatre: Italy 454
African American Theatre 428 Great Britain 455
African American Stock Companies: Theatres under Totalitarianism 457
The Lafayette Players 429 ■ Debates in Theatre History: Evaluating
African Americans in Popular Theatre 430 Totalitarian Art 458
Global Theatres, 1875–1915 430 American Theatre: Popular, Noncommercial,
Asian Theatres 431 and Multicultural 459
Early-Twentieth-Century Chinese Theatre 431 Commercial versus Noncommercial Theatre 459
Theatre in India 432 Playwrights in the United States 462
Theatre in Japan 433 The “Little Theatre” Movement 465
Theatre in Southeast Asia 434 The Group Theatre 466
Theatre in the Middle East and Africa 434 The Federal Theatre Project 468
Summary 435 College and University Theatres 469
Multicultural Theatre: African American Theatre 469

CHAPTER 13 Global Theatres 474

Theatre in China 474
Theatres from Kathakali in India from the Seventeenth to Twentieth
Century 476
1915 to 1950 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Theatre in Japan 477
Background: A Time of Unrest—The World Summary 477
Wars 437
Theatre of Unrest: Dramatic Innovations 440
Expressionism 441
Futurism and Dada 443

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 CHAPTER 14 Postmodernism 525
The Performance Group and Richard Schechner 526
Theatres after 1950: The Wooster Group 526
Traditional and Mabou Mines 526
Other Alternative Ensembles 527
Experimental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 Alternative American Directors 528

Background: Post World War II—A Time Performance Art 530

of Social Upheaval 479 Summary 535
Trends in Theatre since 1950 483
Traditional Drama: 1950 to the Present 483 CHAPTER 15
Selective Realism 484
Variations on Traditional Realism 490
Theatres after 1950:
Non-Commercial U.S. Theatres 493 Multicultural and Global. . . . . . 537
Regional Theatre 493
Background: Multicultural Theatre 537
Off-Broadway, Off-Off-Broadway, and
African American Theatre 538
Alternative Regional Theatres 495
African American Theatre after World War II 538
British Realism: Angry Young Playwrights and Their
Influence 498 Civil Rights and African American
Militancy and Theatre: 1960–1980 540
Documentary Drama: Fact-Based Realism 499
African American Producing Organizations: 1970s to the
Popular Traditional U.S. Theatre 501 Present 542
Contemporary American Musical Theatre 501 Contemporary African American Directors: 1980 to the
Innovation and Experimentation 507 Present 543
Existentialism 508 ■ Debates in Theatre History: Color-Blind and
Nontraditional Casting 547
Theatre of the Absurd 509
Contemporary African American Playwrights 547
Happenings and Multimedia 515
Latino/a American Theatre 548
Environmental Theatre 516
Chicano Theatre 549
New Technology 518
Cuban American Theatre 550
Postwar Eclectic Directors 520
Nuyorican Theatre 552
Off-Off-Broadway: Haven for Experimental Theatre 521
Other Latino/a Theatre Companies and Performers 552

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 Asian American Theatre 553 Canadian Theatre 578
Native American Theatre 555 Australian Theatre 580
Native American Theatre Companies 556 Russian and Eastern European Theatre 581
Native American Playwrights 557 Russia 581
Other Multicultural Playwrights and Theatres 557 Poland, Romania, and the Czech Republic 581
Feminist Theatre 558 Theatre in Western Europe, Britain, and Ireland 583
Feminist Theatre Companies in the United States 561 Western European Directors 583

Gay and Lesbian Drama 561 German, Italian, and French Dramatists 586

Gay, Lesbian, and Transgender Theatre Groups 563 Key British and Irish Playwrights 587
European and British Theatre Companies 589
Background: Approaching Global Theatre 565
The Vitality and Endurance of Live Theatre 593
Theatres in India, China, and Japan 566
Technology and the Global Theatre 594
Theatres in the Middle East 570
Summary 595
African Theatre and Drama 572
Northern (Arabic-Speaking) Africa 573
Portuguese-Speaking Africa 573 Glossary of Theatrical Terms G1
French-Speaking (Francophone) Africa 573 Pronunciation Guide: Theatrical Terms and Names P1
English-Speaking (Anglophone) Africa 574 Selected Bibliography B1
Latin American Theatre 577 Credits C1
Cuban Theatre 578 Index I1

XVI

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 Preface to the
Seventh Edition

By definition, any history is a chronicle—a recapitulation or a reconstruction

of events from the past. It cannot, therefore, be a contemporary, spontaneous
occurrence. And yet, that is precisely what theatre is—an event that exists not
in the past but in the present. In fact, theatre exists only at the moment when it
occurs. The essence of theatre is an immediate exchange between the audience
and what unfolds onstage: performances, words of a text, and visual effects of
sets, lights, and costumes.
The first challenge, therefore, of writing histories of theatre is to bring theatre
from the past to life today. In Living Theatre, we have taken a number of steps to
achieve this. Our original goal in writing Living Theatre was, first of all, to create
a thoroughly accurate, reliable, up-to-date history of theatre. At the same time,
we wanted to produce a lively text that was entirely readable and engaging, not
simply a chronicle containing facts, names, and dates. In short, we wanted to
avoid producing a volume that read like an encyclopedia; instead, we sought to
develop one that helped students to understand the key concepts in each historic
period and to visualize how plays were staged in the past. The goal was to ensure
that our coverage was comprehensive and highlighted key figures and events.
In addition, we strove to cover multicultural and global artists and theatres. The
positive response among our many adopters, we believe, is an indication that
our approach has been pedagogically successful. In the current edition we have
continued to revise, add, and reorganize in our ongoing effort to be as accessible,
comprehensive, up-to-date, and inclusive as possible.
The seventh edition of Living Theatre retains all the features that have been well
received by students and professors in previous editions while debuting a new
feature, incorporating new findings and debates in contemporary scholarship, and
adding significant new sections.

Engaging Features
Past and Present
By exploring how older theatrical practices, traditions, and theatres are currently
used, new Past and Present features focus on the myriad ways the theatre of the
past shapes and inspires the theatre of the present. In Chapter 2, for example, we
discuss how the incredible acoustics and impressive design and size of the Greek
theatre of Epidaurus enable it to still be used for performances today, fully 2,400

XVII

235627_00_i-xxii,1_r2_ra.indd 17 29/06/17 10:02 AM

 years after its construction. In Chapter 11, we discuss melodrama and how its
tropes and character archetypes continue to be evident in the drama of today,
notably in soap opera, crime television shows, and even Hitchcock films. We
also discuss how these archetypes are often subverted in modern drama to create
more complex and interesting characters. These features are often accompanied
by contemporary photos depicting the way a given historical practice or theatre
looks today. Other Past and Present features include:
• Theatre Festivals Today
• The Colosseum
• Kabuki
• Puppetry
• Passion Plays
• Street Theatre
• Improvisation
• Teatro Olimpico
• Shakespeare Four Centuries Later
• The Comédie-Française
• The Drury Lane Theatre
• Drottningholm Theatre
• Actor-Directors
• The Bayreuth Festspielhaus and Festival

Debates in Theatre History

Our most popular feature from previous editions will return in the new seventh
edition. These features serve to illustrate that the history of theatre is far from
settled, and that just as theatre itself is alive and evolving, so is theatre history.
We have updated all the Debates to include recent scholarship and historical
finds—for example, the revelation of Shakespeare’s family arms. As discussed in
the Chapter 7 Debate, “Who Wrote Shakespeare’s Plays?,” this discovery provides
further evidence that William Shakespeare, as a gentleman-writer, is indeed the
author of the plays attributed to his name. We have also included a new Debate
in our final chapter concerning nontraditional casting. This practice has become
increasingly common, as the recent Broadway hits Hamilton and Natasha, Pierre &
the Great Comet of 1812 demonstrate; but prominent theatrical persons have spoken
against it, notably the late August Wilson.

Newly Designed Visual Program

Photos
Our bold new design features 241 photos of both historical and contemporary
productions. These include small avant-garde productions and commercial hits,
modern dress adaptations of ancient plays, and more traditional set historical
productions—all carefully chosen to demonstrate how the history of theatre often
bleeds into contemporary productions.

XVIII Preface

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 Theatrical Diagrams
These newly designed diagrams aid students in conceptualizing complicated stage
mechanics as well as theatre architecture. They include:
• ground plans for Greek, Roman, traditional Chinese, nō, and kabuki theatres,
as well as more modern configurations such as the arena and thrust stages;
• stage techniques such as the Greek mechane and ekkyklema, and the Italian pole-
and-chariot system;
• depictions of an Elizabethan playhouse and a medieval pageant wagon.

Updated Maps
Maps throughout the book have been updated. Special attention is given to
those from ancient Greece and Rome, which now include more of the important
theatres of the era, such as the Theatre of Epidaurus and the Theatre of Orange.

Timelines
The seventh edition features fifteen updated timelines that chronicle theatrical as
well as cultural and political events. These timelines enable students to place the
major events of theatre history in a broader context of world history.

Revised Final Chapters

Organization
In an attempt to make the seventh edition even more readable than previous edi-
tions, we have reorganized the final chapters. Instead of dividing recent theatre
according to date and location, we now approach theatre made after 1950 the-
matically. As their titles indicate, Chapter 14 explores “Theatres after 1950:
Traditional and Experimental,” while Chapter 15 focuses on “Theatres after
1950: Multicultural and Global.” Through this approach, we avoid encyclopedic
lists of newer plays and artists, and we highlight the driving forces behind con-
temporary theatre—namely, the development and interaction between traditional
and experimental theatre as well as the many viewpoints and backgrounds from
which modern theatre springs.

Emphasis on Multicultural Theatre

Throughout the text, we strive to emphasize the contributions of minority groups
and women in theatre. For example, the Debates in Theatre History features
include such topics as “Was Terence the First Black Playwright?” and “Are Wom-
en’s Contributions to Theatre History Overlooked?” We have also included new
sections on underrepresented female and African American artists in Chapter 13.
Most dramatically, we have organized our final chapter around multicultural and
global theatre, including extensive coverage of:
• African American Theatre
• Latino/a American Theatre

Preface XIX

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 • Asian American Theatre
• Native American Theatre
• Feminist Theatre
• Gay and Lesbian Drama

Instructor Resources
Interactive Instructor’s Guide
This searchable and sortable site features hundreds of images, teaching notes, links
to videos and other outside resources, and more for in-class presentation.

Test Bank
The test bank includes over fifty questions for each chapter. Every question
is tagged with its difficulty level, page number reference, and question cate-
gory (Understanding, Remembering, Analyzing, Applying), making it easy for
instructors to construct tests.

Lecture PowerPoints
Visually engaging lecture PowerPoint slides, using the art from the book, feature
classroom lecture notes that can be particularly helpful to first-time teachers.

YouTube Channel
Our digital resources now include a YouTube channel with clips of performances
from many important plays.

W. W. Norton also publishes the Norton Anthology of Drama, which reprints

sixty-four plays, nearly all of which are discussed in this text, and which can be
packaged with Living Theatre at a discounted price. Contact your local Norton
representative for more information. You can find your local representative by
visiting http://books.wwnorton.com/books/find-your-rep/.

Acknowledgments
The authors are very excited to have W. W. Norton publish the seventh edition
of Living Theatre. Norton’s support of our work on this new edition has been
inspiring. We want to especially thank Peter Simon (vice president and editor)
and Gerra Goff (associate editor) for their unwavering assistance and guidance.
We also want to acknowledge Chris Freitag (music editor), who introduced us to
Norton and his wonderful colleagues.
Retained from earlier editions is the excellent material provided by Professor
James V. Hatch on African American theatre. For information in the chapter on
Asian theatre, we are deeply indebted to Professors J. Thomas Rimer and Samuel
Leiter. Much of the original biographical information was developed by Dr. Rita
Plotnicki, Professor J. K. Curry, Thom Thomas, Michelle Sullivan, and Dr. Susan
Tenneriello. For many of the African American figures, original material was
originally furnished by George C. Wolfe, who is now an important director and
playwright and whose work is cited in our text. Dr. Ann Haugo contributed
invaluable information on Native American theatre, and Angie Balsamo provided
XX Preface

235627_00_i-xxii,1_r2_ra.indd 20 29/06/17 10:02 AM

 additional information on Latin American theatre. The pronunciation guide was
compiled by Kurt Taroff.
There are three people to whom we would especially like to express our
gratitude. One is Inge King, who, without doubt, is the finest photo editor and
researcher of anyone working in the theatre. It has been our great good fortune
to have her collaborate with us for almost forty years on thirty editions of our
books, including this seventh edition of Living Theatre. During that time she
has presented to us some 35,000 photographs from which to choose the ones we
have featured in various editions. There is no way we can adequately express our
admiration and appreciation.
Also, Alice Vigliani is our new copy editor. She provided an invaluable careful
reading of our text and made important contributions to this new edition. We
would also like to thank Megan Geigner for her impeccable work creating the
new media program.
Especially those who provided in-depth reviews:
We are grateful for the important contributions of all of our instructor reviews
over the course of six editions. We thank the following people for their advice and
suggestions during development of the seventh edition of Living Theatre:

Jimmy Bickerstaff Saint Mary’s University of Minnesota

Lisa Brenner Kutzown University of Pennsylvania
Kevin T. Browne University of Central Arkansas
Claudia Case Lehman College of the City University
of New York
Jean Daniels Blinn College
Steve Earnest Coastal Carolina University
Patrick M. Finelli University of South Florida
John Fletcher Louisiana State University
Andrew Harris University of North Texas at Denton
Stewart Hawley Reinhardt University
C. Austin Hill Tennessee Wesleyan University
Lois A. Hock Wilmington College
Cyndi Kumor Montclair State University
Robert G. Levy Clarion University of Pennsylvania
Heather McMahon Maryville College
Stephen Rupsch St. Norbert College
Elissa Sartwell Belhaven University
Norman Schroder Idaho State University
Shannon Blake Skelton Kansas State University
Robert L. Smith Kutzown University of Pennsylvania
Victor Talmadge Mills College
Kellee Van Aken Seton Hill University
Virginia Anderson Connecticut College
Wendy R. Coleman Alabama State University
Alison Frost Texas A&M University
Robert I. Lublin University of Massachusetts Boston
Elizabeth Reitz Mullenix Miami University
Gregory W. Lanier University of West Florida
Gaye Jeffers University of Tennessee at Chattanooga

Preface XXI

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 About the Authors

Edwin (Ed) Wilson attended Vanderbilt University, The Theater Experience, was recently published, and
the University of Edinburgh, and Yale University, the ninth edition of Theatre: The Lively Art (coau-
where he received an M.F.A. and the first Doctor thored with Alvin Goldfarb) will be published in
of Fine Arts degree awarded by Yale. He has taught 2016. Wilson is also the editor of Shaw on Shakespeare
theatre at Vanderbilt, Yale, and, for over thirty and author of the murder mystery The Patron
years, at Hunter College and the Graduate Center Murders.
of the City University of New York (CUNY). He is
the author of several original plays as well as author Alvin (Al) Goldfarb is president emeritus and profes-
of the book and lyrics for a musical version of Great sor emeritus of theatre at Western Illinois University.
Expectations, which was given a fully mounted pro- He also served as provost, dean, department chair,
duction at the Mill Mountain Theatre in Roanoke, and professor of theatre during his twenty-five-year
Virginia. tenure at Illinois State University, as well as man-
Wilson has produced plays on and off Broadway aging director of the Illinois Shakespeare Festival.
and served one season as resident director of the He holds a Ph.D. in theatre history from the City
Barter Theatre in Abingdon, Virginia. He was University of New York (CUNY), a master’s degree
assistant to the producer on the Broadway play from Hunter College of CUNY, and a bachelor’s
Big Fish, Little Fish directed by John Gielgud and degree from Queens College of CUNY, graduating
starring Jason Robards, and of the film Lord of the Phi Beta Kappa.
Flies directed by Peter Brook. On Broadway, he co- He is coauthor of Living Theatre and Theatre: The
produced Agatha Sue, I Love You directed by George Lively Art, as well as coeditor (with Edwin Wilson) of
Abbott. He also produced a feature film, The The Anthology of Living Theatre. Goldfarb is also co-
Nashville Sound. He was the moderator of Spotlight, a editor (with Rebecca Rovit) of Theatrical Performance
television interview series on CUNY-TV and PBS, during the Holocaust: Texts, Documents, Memoirs; the
from 1989 to 1993; during that time ninety-one half- book was a finalist for the National Jewish Book
hour interviews with outstanding actors, actresses, Award. He has published numerous articles and
playwrights, directors, and producers were broad- reviews in scholarly journals and anthologies.
cast on 200 PBS stations in the United States. Goldfarb served as a member of the Illinois Arts
For twenty-two years Wilson was the theater critic Council and the Illinois Alliance for Arts Education.
of the Wall Street Journal. A long-time member of the He has received service awards from the latter
New York Drama Critics’ Circle, he was president of organization as well as from the American College
the Circle for several years. He is on the board of the Theater Festival. He also received an Alumni
John Golden Fund and served a term as president of Achievement Award from the City University of
the Theatre Development Fund (TDF), whose board New York Graduate Center’s Alumni Association,
he was on for twenty-three years. He has served a and another Alumni Award from Hunter College
number of times on the Tony Awards Nominating of CUNY. He currently serves on the board of the
Committee and the Pulitzer Prize Drama Jury. Arts Alliance of Illinois and as a judge, treasurer,
He is the author or coauthor of the three most and executive committee member for the Joseph
widely used college theater textbooks in the United Jefferson Awards Committee, which honors the best
States. The thirteenth edition of his pioneer book, of Chicago’s theatre.

XXII

235627_00_i-xxii,1_r2_ra.indd 22 29/06/17 10:02 AM

 Living Theatre
A HISTORY OF THEATRE
SEVENTH EDITION

235627_00_i-xxii,1_r2_ra.indd 1 29/06/17 10:02 AM

235627_01_002-029_r3_rj.indd 2 29/06/17 10:29 AM
 Another Random Document on
Scribd Without Any Related Topics
Paul, laymen must have been allowed two or three apiece, as
pleased them. There you have your text."
The Preachers: "As we said before, marriage is an affair of common
police regulation, res Politica. And as now the law of the land is
different from what it was in the time of Paul, so that many wives
are forbidden and not tolerated, you will have to answer for your
innovations before God and man."
The King: "Well, I have the consolation that what was permitted to
the fathers cannot damn us. I had rather be with the fathers than
with you."
The Preachers: "Well, we prefer obedience to the State."[280]
Here we see Corvinus, Kymens, and the other ministers placing
matrimony on exactly the same low footing as did Luther.
Having "interviewed" the king, these crows settled on Knipperdolling
and Krechting in Horstmar, and with these unfortunates they carried
on a paper controversy.
The captivity of the king and his two accomplices lasted six months.
The Lutheran preachers had swarmed about him and buzzed in his
ears, and the poor wretch believed that by yielding a few points he
could save his life. He offered to labour along with Melchior
Hoffmann, to bring the numerous Anabaptists in Friesland, Holland,
Brabant, and Flanders into submission, if he were given his liberty;
but finding that the preachers had been giving him false hopes and
leading him into recantations, he refused to see them again, and
awaited his execution in sullen despair.
The pastors failing to convert the Anabaptists, and finding that the
sectaries used against them scripture and private judgment with
such efficacy that they were unable in argument to overcome them,
called upon the princes to exterminate them by fire and sword.
The gentle Melancthon wrote a tract or letter to urge the princes on;
it was entitled, "Das weltliche Oberkeiten den Widerteuffern mit
leiblicher straffe zu wehren schüldig sey. Etlicher bedenken zu
Wittemberg gestellet durch Philip Melancthon, 1536. Ob Christliche
Fürsten schüldig sind der Widerteuffer unchristlicher Sect mit
leiblicher straffe und mit dem schwert zu wehren." He enumerates
the doctrines of the unfortunate sectarians at Münster and
elsewhere, and then he says that it is the duty of all princes and
nobles to root out with the sword all heresy from their dominions;
but then, with this proviso, they must first be instructed out of God's
Word by the pure reformed Church what doctrines are heretical, that
they may only exterminate those who differ from the Lutheran
communion.
He then quotes to the Protestant princes the example of the Jewish
kings: "The kings in the Old Testament, not only the Jewish kings,
but also the converted heathen kings, judged and killed the false
prophets and unbelievers. Such examples show the office of princes.
As Paul says, the law is good that blasphemers are to be punished.
The government is not to rule men for their bodily welfare, so much
as for God's honour, for they are God's ministers; let them remember
that and value their office."
But it is argued on the other side that it is written, "Let both grow
together till the harvest. Now this is not spoken to the temporal
power," says Melancthon, "but to the preachers, that they should not
use physical power under the excuse of their office. From all this it is
plain that the worldly government is bound to drive away blasphemy,
false doctrine, heresies, and to punish in their persons those who
hold to these things.... Let the judge know that this sect of
Anabaptists is from the devil, and as a prudent preacher instructs
different stations how they are to conduct themselves, as he teaches
a wife that to breed children is to please God well, so he teaches the
temporal authorities how they are to serve God's honour, and openly
drive away heresy."[281]
So also did Justus Menius write to urge on an exterminatory
persecution of the sectaries; he also argues that "Let both grow
together till the harvest," is not to be quoted by the princes as an
excuse for sparing lives and properties.[282]
On the 12th January, 1536, John of Leyden, Knipperdolling, and
Krechting were brought back to Münster to undergo sentence of
death.[283]
A platform was erected in the square before the townhall on the
21st, and on this platform was planted a large stake with iron collars
attached to it.
When John Bockelson was told, on the 21st, that he was to die on
the morrow, he asked for the chaplain of the bishop, John von
Siburg, who spent the night with him. With the fear of a terrible
death before him, the confidence of the wretched man gave way,
and he made his confession with every sign of true contrition.
Knipperdolling and Krechting, who were also offered the assistance
of a priest, rejected the offer with contempt. They declared that the
presence of God sufficed them, that they were conscious of having
committed no sin, and that all their actions had been done the sole
glory of to God, that moreover they were freely justified by faith in
Christ.
On Monday the 22nd, at eight o'clock in the morning, the ex-king of
Münster and his companions were led to execution. The gates of the
city had been closed, and a large detachment of troops surrounded
the scaffold. Outside this iron ring was a dense crowd of people, and
the windows were filled with heads. Francis of Waldeck occupied a
window immediately opposite the scaffold, and remained there
throughout the hideous tragedy.[284] As an historian has well
observed, "Francis of Waldeck, in default of other virtues, might at
least have not forgotten what was due to his high rank and his
Episcopal character; he regarded neither—but showed himself as
ferocious as had been John Bockelson, by becoming a spectator of
the long and horrible torture of the three criminals."[285] John and his
accomplices having reached the townhall, received their sentence
from Wesseling, the city judge. It was that they should be burned
with red-hot pincers, and finally stabbed with daggers heated in the
fire.[286]
The king was the first to mount the scaffold and be tortured.
"The king endured three grips with the pincers without speaking or
crying, but then he burst forth into cries of, "Father, have mercy on
me! God of mercy and loving kindness!" and he besought pardon of
his sins and help. The bystanders were pierced to the heart by his
shrieks of agony, the scent of the roast flesh filled the market-place;
his body was one great wound. At length the sign was given, his
tongue was torn out with the red pincers, and a dagger pierced his
heart.
Knipperdolling and Krechting were put to the torture directly after
the agonies of the king had begun. Knipperdolling endeavoured to
beat his brains out against the stake, and when prevented, he tried
to strangle himself with his own collar. To prevent him accomplishing
his design, a rope was put through his mouth and attached to the
stake so as totally to incapacitate him from moving. When these
unfortunates were dead, their bodies were placed in three iron
cages, and were hung up on the tower of the church of St. Lambert,
the king in the middle.[287]
Thus ended this hideous drama, which produced an effect
throughout Germany. The excess of the scandal inspired all the
Catholic governments with horror, and warned them of the
immensity of the danger they ran in allowing the spread of
Protestant mysticism. Cities and principalities which wavered in their
allegiance to the Church took a decided position at once.
At Münster, Catholicism was re-established. As has been already
mentioned, the debauched, cruel bishop was a Lutheran at heart,
and his ambition was to convert Münster into an hereditary
principality in his family, after the example of certain other princes.
Accordingly, in 1543, he proposed to the States of the diocese to
accept the Confession of Augsburg and abandon Catholicism. The
proposition of the prince was unanimously rejected. Nevertheless the
prince joined the Protestant union of Smalkald the following year,
but having been complained of to the Pope and the Emperor, and
fearing the fate of Hermann von Wied, Archbishop of Cologne, he
excused himself as best he could through his relative, Jost Hodefilter,
bishop of Lübeck, and Franz von Dei, suffragan bishop of Osnabrück.
Before the Smalkald war the prince-bishop had secretly engaged the
help of the Union against his old enemy, the "wild" Duke Henry of
Brunswick. After the war, the Duke of Oldenburg revenged himself
on the principality severely, with fire and sword, and only spared
Münster itself for 100,000 guilders. The bishop died of grief. He left
three natural sons by Anna Polmann. They bore as their arms a half
star, a whole star being the arms of Waldeck.

Authorities: Hermann von Kerssenbroeck; Geschichte der

Wiederthaüffer zu Münster in Westphalen. Münster, 1771. There
is an abbreviated edition in Latin in Menckenii Scriptores Rerum
Germanicaum, Leipsig, 1728-30. T. iii. pp. 1503-1618.
Wie das Evangelium zu Münster erstlich angefangen, und die
Widerteuffer verstöret widerauffgehöret hat. Darnach was die
teufflische Secte der Widerteuffer fur grewliche Gotteslesterung
und unsagliche grawsamkeit ... in der Stad geübt und getrieben;
beschrieben durch Henrichum Dorpium Monasteriensem; in
Luther's Sammtliche Werke. Wittemb. 1545-51. Band ii. ff. 391-
401.
Historia von den Münsterischen Widerteuffern.
Ibid. ff. 328-363.
Acta, Handlungen, Legationen und Schriften, &c., d.
Munsterischen sachen geschehen. Ibid., ff. 363-391.
Kurtze Historia wie endlich der König sampt zweien gerichted,
&c. Ibid. ff. 400-9.
D. Lambertus Hortensius Monfortius, Tumultuum
Anabaptistarum Liber unus. Amsterdam, 1636.
Histoire de la Réformation, ou Mémoires de Jean Sleidan. Trad.
de Courrayer. La Haye, 1667. Vol. ii. lib. x. [This is the edition
 quoted in the article.]
Sleidanus: Commentarium rerum in Orbe gestarum, &c. Argent.
1555; ed. alt. 1559.
I. Hast, Geschichte der Wiederthaüffer von ihren Entstehen in
Zwickau bis auf ihren Sturz zu Münster in Westphalen Münster.
1836.

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FOOTNOTES:
[1] Drake was envoy of the British Government at Munich; he and
Spencer Smith, Chargé d'Affaires at Würtemberg, were accused
by Napoleon of being at the bottom of a counter revolution, and
an attempt to obtain his assassination. It was true that Drake and
Smith were in correspondence with parties in France with the
object of securing Hagenau and Strassburgo and throwing discord
among the troops of the Republic, but they never for a moment
thought of obtaining the assassination of the First Consul, as far
as we can judge from their correspondence that fell into the
hands of the French police.
[2] Unfortunately the British Museum file is imperfect, and does
not contain the Number for August 20th.
[3] A. de Beauchamp, Vie de Louis XVIII. Paris, 1824.
[4] Antonius Bonfinius: Rer. Hungaricarum Dec., v. 1., 3, gives
four reasons. Thomas Cantipratensis, Lib. II., c. 29, gives another
and preposterous one, not to be quoted even in Latin.
[5] Fleury, Hist. Eccl., vi. p. 110.
[6] Le Jubilé d'un faux Miracle (extrait de la Revue de Belgique),
Bruxelles 1870.
[7] "Cuncti fere cum publicis uxoribus ... ducebant vitam." "Et ipsi,
ut cernitur, sicut laici, palam uxores ducunt."—Andr. Strum. "Vit.
Arialdi." "Quis clericorum non esset uxoratus vel concubinarius?"—
Andr. Strum. "Vit. S. Joan. Gualberti."
[8] "Cœperunt ipsi presbyteri et diacones laicorum more uxores
ducere suscepsosque filios hæredes relinquere. Nonnulli etiam
episcoporum verecund â omni contemptâ, cum uxoribus domo
simul in unâ habitare."—Victor Papa "in Dialog."
[9] "Qui unius mulieris, aut uxoris, aut concubinæ (ut ei placuerit)
sit conjunctione contentus."—1st Conc. of Toledo, can. 17. "Hæ
quippe, licet nec uxoribus, nec Reginarum decore et privilegiis
gaudebant, erant tamen veræ uxores," say the Bollandist Fathers,
and add, that it is a vulgar error "Concubinæ appellationem solis
iis tribuere, quæ corporis sui usum uni viro commodant, nullo
interim legitimo nexu devinctæ."—Acta SS., Jun. T. L. p. 178.
[10] It is the same with St. Gregory, Nyssen, Baronius, Alban,
Butler, and other modern Hagiographers make this assertion
boldly, but there is not a shadow of evidence, in any ancient
authorities for his life, that this was the case.
[11] "Hic Archiepiscopus habuit uxorem nobilem mulierem; quæ
donavit dotem suam monasterii S. Dionysii, quæ usque hodie
Uxoria dicitur."—Calvaneus Fiamma, sub ann. 1040.
[12] "Nec vos terreat," writes St. Peter Damiani to the wives of
the clergy "quod forte, non dicam fidei, sed perfidiæ vos annulus
subarrhavit; quod rata et monimenta dotalia notarius quasi
matrimonii jure conscripserit: quod juramentum ad confirmandam
quodammodo conjugii copulam utrinque processit. Ignorantes
quia pro uniuscujusque fugaci voluptate concubitus mlle annorum
negotiantur incendium."
[13] Landulf Sen. ii. c. 27.
[14] For authorities we have Andrew of Vallombrosa, d. A.D. 1170,
a disciple of Ariald. He was a native of Parma. He afterwards went
to Florence, where he was mixed up with the riots occasioned by
St. John Gualberto in 1063. He joined the Order of Vallombrosa,
and became Abbot of Strumi. At least, I judge, and so do the
Bollandists, that Andrew of Vallombrosa and Andrew of Strumi are
the same.
[15] "Plebs fere universa sic est accensa."
[16] "Hæc cum Guido placide dixisset; eo finem orationis dixerit,
ut sacerdotibus fas esset dicere uxores ducere."—Alicatus, "Vit.
Arialdi."
[17] Arnulf., Gesta Archiepisc. Mediol. ap. Pertz, x. p. 17.
[18] "Sic ab eodem populo sunt persecuta et deleta (clericorum
connubia) ut nullus existeret quin aut cogeretur tantum nefas
dimittere, vel ad altare non accedere."—Andr. Strum.
[19] Arnulf., Gesta Ep. Mediol. ap. Pertz, x. p. 18. It is necessary
not to confound Landulf Cotta, the demagogue, with Landulf the
elder, the historian, and Landulf the younger, the disciple and
biographer of Ariald.
[20] Ap. Pertz, l.c., pp. 19, 20.
[21] We have a full account of this embassy in a letter of St. Peter
Damiani to the Archdeacon Hildebrand (Petri Dam. Opp. iii;
Opusc. v. p. 37), besides the accounts by Bonizo, Arnulf, and
Landulf the elder.
[22] Pertz, x. p. 21.
[23] "Nulla misericordia habenda est."
[24] Bonizo. It is deserving of remark that Bonizo, an ardent
supporter of Hildebrand and the reforming party, calls that Papal
party by the name of Patari, thus showing that it was really made
up of the Manichean heretics.
[25] Opp. t. iii.; Opusc. xiii. p. 188.
[26] "Cui Florentini clam insidiantes tentando dicere cœperunt,"
&c.... "ille utpote simplicissimus homo cœpit jurejurando dicere,"
&c.—Andrew of Genoa, c. 62.
[27] "Alacres et avidi rem scisitari."
[28] For the account of what follows, in addition to the biography
by Andrew of Strumi, we have the Dialogues of Desiderius of
Monte Cassino, lib. iii.
[29] "Martyrii flagrans amore."—Andr. Strum.
[30] "Quis clericorum propriis et paternis rebus solummodo non
studebat? Qui potius inveniretur, proh dolor! qui non esset
uxoratus vel concubinarius? De simoniâ quid dicam? Omnes pene
ecclesiasticos ordines hæc mortifera bellua devoraverat, ut, qui
ejus morsum evaserit, rarus inveniretur."—Andr. Strum.
[31] "Exemplo vero ipsius et admonitionibus delicati clerici, spretis
connubiis, cœperunt simul in ecclesiis stare, et communem
ducere vitam."—Atto Pistor., Vit. S. Joan. Gualb.
[32] For what follows, in addition to the above-quoted authorities,
we have Berthold's Chronicle from 1054 to 1100; Pertz, Mon. Sacr.
v. pp. 264-326.
[33] "Securiores de corona, quam jam gustaverant, martyrii."—
Andr. Strum.
[34] "Favebat enim maxima pars Episcoporum parti Petri, et
omnes pene erant monachis adversi."—Andr. Strum.
[35] "Maxime feminarum."
[36] "Et nos, viri fratres, civitatem hanc incendamus atque cum
parvulis et uxoribus nostris, quocumque Christus ierit, secum
camus. Si Christiani sumus, Christum sequamur."—Andr. Strum.
[37] It is not mentioned in the epistle of the Florentines to the
Pope, narrating the ordeal and supposed miracle, which is given
by Andrew of Strumi and Atto of Pistoja.
[38] Hæc ut nobilis Herembaldus ceterique Fideles audiere,
sumptis armis, in audacem plebem et temerariam irruere; quos
protinus exterminavere omnes, quasi essent vilissimæ
pecudes,"—Andr. Strum.
[39] Ariald was murdered on June 27, 1065. Andrew of Strumi
says 1066; but he followed the Florentine computation—he had
been a priest of Florence—which made the year begin on March
25.
[40] "Gloriosus hac vice delusus," says Arnulf.
[41] "Audivimus quod quidam Episcoporum apud vos
commorantium, aut sacerdotes, et diaconi, et subdiaconi,
mulieribus commisceantur aut consentiant aut negligant. His
præcipimus vos nullo modo obedire, vel illorum præceptis
consentire, sicut ipsi apostolicæ sedis præceptis non obediunt
neque auctoritati sanctorum patrum consentiunt." "Quapropter ad
omnes de quorum fide et devotione confidimus nunc convertimur,
rogantes vos et apostolicâ auctoritate admonentes ut quidquid
Episcopi dehinc loquantur aut taceant, vos officium eorum quos
aut simoniace promotos et ordinatos aut in crimine fornicationis
jacentes cognoveritis, nullatenus recipiatis."—Letter to the
Franconians (Baluze, Misc. vii. p. 125).
[42] Pertz, viii. p. 362.
[43] The life of Liprand was written by Landulf the younger, his
sister's son, in his Hist. Mediolan. 1095-1137.
[44] "Proposuisti quod ego sum simoniacus per munus a manu.
Modo die: cui dedi; Tunc presbyter super populum oculos aperuit,
et digitum ad eos, qui stabunt in pulpito, extendit, dicens, Videte
tres grandissimos diabolos, qui per ingenium et pecuniam suam
putant me confundere."
[45] It is very evident from this discussion that Grossulani was
innocent of true simony; the whole charge against him was due to
his having quashed the election of Landulf, and thus of having
deposed, after a fashion, "an archbishop from his archbishopric."
[46] It is evident from the account of Landulf the younger himself,
that the Archbishop did not force the priest to enter on the
ordeal.
[47] Kerssenbroeck, p. 114.
[48] Ibid. p. 115.
[49] Kerssenbroeck, p. 116.
[50] Ibid. p. 117.
[51] Ibid. p. 120.
[52] Kerssenbroeck, p. 126.
[53] Kerssenbroeck, p. 128.
[54] Ibid.
[55] Ibid. p. 138.
[56] Kerssenbroeck, p. 143.
[57] Ibid. 148; Latin edition, p. 1517-9; Dorpius, f. 391 a.
[58] Kerssenbroeck, p. 152.
[59] Kerssenbroeck, p. 152.
[60] Kerssenbroeck, p. 165 et seq.; Latin edition, Mencken, p.
1520-8: Sleidan, French tr., p. 406.
[61] Kerssenbroeck, p. 185; Bullinger, "Adversus Anabaptist." lib.
ii. c. 8.
[62] Kerssenbroeck, pp. 189-90.
[63] Ibid. p. 203.
[64] Stürc, "Gerchichte v. Osnabrück." Osnab. 1826, pt. iii. p. 25.
[65] Vehse, "Geschichte der Deutschen Höfe." Hamburg, 1859,
vol. xlvii. p. 4-6. Bessen, "Geschichte v. Paderborn"; Paderb.
1820, vol. ii. p. 33.
[66] Kerssenbroeck, p. 207; Dorpius, f. 391 b. 392.
[67] Ibid. p. 208.
[68] Kerssenbroeck, p. 209.
[69] Ibid. pp. 210, 211.
[70] Kerssenbroeck, pp. 213-23.
[71] Ibid. p. 272.
[72] Ibid. pp. 228-34.
[73] Kerssenbroeck, pp. 228, 229.
[74] Ibid. p. 230.
[75] Ibid. p. 248 et seq.
[76] Kerssenbroeck, pp. 268-9.
[77] Ibid. p. 279 et seq.
[78] Ibid. p. 283 et seq.
[79] Ibid. pp. 284, 285.
[80] Kerssenbroeck, p. 330.
[81] Kerssenbroeck, p. 332.
[82] Ibid. pp. 335-7.
[83] Ibid. p. 338.
[84] Ibid. p. 340 et seq.
[85] Kerssenbroeck, p. 347.
[86] Ibid. p. 348.
[87] Ibid. p. 349.
[88] Kerssenbroeck, p. 351.
[89] Ibid. p. 351.
[90] Ibid. p. 353.
[91] Ibid. p. 354 et seq. Sleidan, French tr. p. 407.
[92] Kerssenbroeck, p. 358 et seq. Sleidan, French tr. p. 408.
Sleidan also gives the number as 900; Dorpius, f. 392 b.
[93] Kerssenbroeck, p. 368.
[94] Ibid. p. 392 et seq.
[95] Kerssenbroeck, p. 398 et seq.
[96] Ibid. p. 402.
[97] Ibid. p. 403.
[98] Ibid. p. 404.
[99] Kerssenbroeck, p. 404.
[100] Ibid. p. 405.
[101] Ibid. p. 406.
[102] Kerssenbroeck, p. 407 et seq.
[103] Ibid. p. 413.
[104] Ibid. p. 413.
[105] Kerssenbroeck, p. 415.
[106] Ibid. p. 416.
[107] Kerssenbroeck 417.
[108] Kerssenbroeck, p. 429 et seq.; Sleidan, French tr. p. 409;
Bullinger, "Adv. Anabapt.," 116, ii. c. 8.
[109] Kerssenbroeck, pp. 431, 432; Dorp., f. 322-3.
[110] Kerssenbroeck, p. 434.
[111] Ibid. p. 436.
[112] Kerssenbroeck, pp. 437-9.
[113] Ibid. p. 441.
[114] Kerssenbroeck, p. 443; Sleidan, p. 410; Dorpius, f. 393 b.
[115] Kerssenbroeck, p. 443.
[116] Ibid. p. 444.
[117] Kerssenbroeck, p. 444 et seq.
[118] Ibid. p. 457 et seq.
[119] Dorpius, f. 394.
[120] Kerssenbroeck, p. 448.
[121] Ibid. p. 449.
[122] Kerssenbroeck, p. 450 et seq.
[123] Kerssenbroeck, p. 453 et seq.
[124] This is corroborated by the Acta, Handlungen, &c., fol. 385.
"The Preachers: Do you believe that Christ received His flesh off
the flesh of Mary, by the operation of the Holy Ghost? John of
Leyden: No; such is not the teaching of Scripture." And he
explained that if the flesh had been taken from Mary, it must have
been sinful, for she was not immaculate.
[125] Kerssenbroeck, p. 456; Sleidan, p. 411.
[126] Ibid. p. 456.
[127] Kerssenbroeck, p. 461.
[128] Ibid. p. 461.
[129] Kerssenbroeck, p. 163; Dorpius, f. 394 a.
[130] Kerssenbroeck, p. 464.
[131] Ibid. pp. 466, 467.
[132] Kerssenbroeck, p. 468.
[133] Ibid. p. 472.
[134] Kerssenbroeck, p. 473.
[135] Ibid. p. 476.
[136] Kerssenbroeck, p. 476.
[137] Kerssenbroeck, part ii. p. 51 et seq.; Heresbach, p. 31;
Hast, p. 324.
[138] Kerssenbroeck, part i. p. 477 et seq.
[139] Kerssenbroeck, p. 479.
[140] Hast, p. 329 et seq.
[141] Kerssenbroeck, p. 479.
[142] Dorpius, p. 394.
[143] Kerssenbroeck, p. 483.
[144] Ibid. p. 479.
[145] Kerssenbroeck, p. 484.
[146] Dorpius, f. 394.
[147] Kerssenbroeck, p. 405 et seq. Montfort., "Tumult. Anabap.,"
p. 15 et seq.; Bullinger, lib. ii. c. 8.
[148] Same authorities; Sleidan, p. 411.
[149] Kerssenbroeck, p. 495 et seq.
[150] Kerssenbroeck, p. 496.
[151] Kerssenbroeck; Dorpius, ff. 394-5.
[152] Ibid., p. 502; Mencken, p. 1545.
[153] Kerssenbroeck, p. 503.
[154] Ibid. p. 505.
[155] Kerssenbroeck, p. 509.
[156] Kerssenbroeck, p. 510; Sleidan, p. 411; Dorpius, f. 395.
[157] Kerssenbroeck, p. 513 et seq. Sleidan, lib. x. pp. 412-3;
Heresbach, p. 36.
[158] Kerssenbroeck, p. 516.
[159] Ibid. p. 517; Sleidan, p. 412.
[160] Kerssenbroeck, p. 5222.
[161] Kerssenbroeck, p. 520; Dorpius, f. 395.
[162] Kerssenbroeck, p. 523.
[163] Kerssenbroeck, p. 531 et seq.; Hast, p. 344.
[164] Kerssenbroeck; Dorpius, f. 395.
[165] Ibid. p. 585.
[166] Kerssenbroeck, p. 535 et seq.; Monfortius, p. 19; Sleidan
and Dorpius call the man Truteling; Sleidan, p. 412; Dorpius, f.
395 b.
[167] Monfortius, p. 19.
[168] Kerssenbroeck, p. 538.
[169] Kerssenbroeck, p. 539.
[170] Kerssenbroeck, pp. 541, 542; Bullinger, ii. c. 10.
[171] Ibid. p. 542.
[172] Ibid., 542; Hast, p. 348.
[173] Kerssenbroeck, 542; Sleidan, p. 413; Bullinger, lib. ii. c. 9;
Heresbach, p. 138; Buissierre, p. 310.
[174] Kerssenbroeck, p. 543; Montfort., p. 24.
[175] Bullinger, ii. c. 8; Sleidan, p. 271; Dorpius, f. 396.
[176] Kerssenbroeck, p. 545; Heresbach, p. 139; Sleidan, p. 413;
Dorpius, f. 396.
[177] Kerssenbroeck, p. 596; Monfort, pp. 25, 26; Heresbach, p.
99 et seq.
[178] Dorpius, f. 396 b.
[179] Kerssenbroeck, pt. ii. pp. 1-9; Monfortius, pp. 26, 27; Hast,
p, 352 et seq.
[180] Kerssenbroeck, pt. ii. p. 9.
[181] Ibid. pp. 11, 12.
[182] Kerssenbroeck, pp. 15, 16; Sleidan, p. 413.
[183] Kerssenbroeck, pp. 15, 16.
[184] Ibid. p. 21.
[185] Hast, p. 357; Sleidan, p. 413.
[186] Kerssenbroeck, p. 26 et seq.
[187] Kerssenbroeck, p. 36.
[188] Ibid. p. 38; H. Montfort., p. 28.
[189] Sleidan, p. 414; Dorp. f 396.
[190] Kerssenbroeck, p. 38.
[191] Kerssenbroeck, p. 39 et seq.; Heresbach, pp. 41, 42; H.
Montfort., pp. 29, 30; Bullinger, lib. ii. c. 9, p. 56.
[192] Kerssenbroeck, p. 40.
[193] Ibid. p. 41; Dorpius, f. 536 b.
[194] H. Montfort., p. 29; C. Heresbach, p. 42.
[195] Kerssenbroeck, p. 42. Dorpius confirms the horrible account
given by Kerssenbroeck from what he saw himself, f. 498.
[196] Kerssenbroeck, p. 43 et seq.
[197] Ibid. p. 47; Sleidan, p. 419; Bullinger, lib. ii. p. 56;
Montfort., p. 31; Heresbach, pp. 136-7, "Historia von d.
Münsterischen Widerteuffer," f. 328 b; Dorpius, f. 397.
[198] Kerssenbroeck, p. 43 et seq.
[199] Kerssenbroeck, p. 47; and the authors before quoted.
[200] Kerssenbroeck, p. 49.
[201] Ibid. p. 55 Montfort., pp. 31-3; Sleidan, p. 418; Bullinger, p.
57; Heresbach, pp. 137-8.
[202] Kerssenbroeck, p. 55 et seq.; and the authors above cited.
Kerssenbroeck gives long details of the dress, ornaments, and
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