# A Note on the Acting of the Plays explained — Plays

> Chapter companion for Plays by Roswitha of Gandersheim.

## What happens

This chapter discusses the evidence and possibilities for staging Roswitha's plays, arguing against a condescendingly primitive approach and advocating for imaginative, sympathetic productions that respect the plays' dramatic strength and religious faith. It contrasts a misguided modern performance of Callimachus with the more successful production of Paphnutius by Edith Craig, and offers practical suggestions for future performances.

## Themes in this chapter

### Female Agency and Virtue

The chapter discusses Roswitha's glorification of chastity and the burlesque of old-fashioned virtues in the Callimachus production, highlighting the tension between modern interpretation and the original theme.

### Redemption and Repentance

The conversion of Thais in Paphnutius is noted as a central story that became new and compelling in a serious production, emphasizing the theme of repentance.

## Character check-ins

### Callimachus

Mentioned as the subject of a modern stage production that was criticized for its childish interpretation and burlesque of Roswitha's piety.

### Drusiana

Her prayer to die rather than yield to Callimachus was mocked in the modern production, illustrating the failure to treat the play seriously.

### Paphnutius

The play Paphnutius is cited as a successful production by Edith Craig, demonstrating how Roswitha's work can be impressive on stage.

### Thais

Her conversion story in Paphnutius was made new and compelling in the production, though some found the treatment unpalatable.

### Abraham

Listed among the more actable plays, suggesting its potential for effective staging.

## Key lines

> If they were ever acted in her own time at Gandersheim by members of the community, we need not assume that the performances were ludicrously artless.

Even if Roswitha's plays were performed at Gandersheim, we should not assume the productions were crude or amateurish.

_The author argues against underestimating medieval performance capabilities._

> It is our duty to do our best for them, neglecting no means of emphasizing their dramatic strength and helping their dramatic weakness.

We should strive to present these plays as effectively as possible, enhancing their strengths and mitigating their weaknesses.

_The author advocates for respectful and skilled staging of Roswitha's works._

> Imagination, sympathy with Roswitha’s uncompromising religious faith, a few sets of curtains, or an interchangeable scene, actors capable either by nature or training of extracting a pound of effect out of an ounce of dialogue, are the foundations on which performances of these plays can be built.

Successful performances require imaginative staging, respect for Roswitha's faith, simple sets, and skilled actors who can make the most of the dialogue.

_The author outlines the essential elements for producing Roswitha's plays effectively._

## Links

- HTML: https://www.betterreads.online/discover/plays_se/chapters/a-note-on-the-acting-of-the-plays
- Book: https://www.betterreads.online/discover/plays_se
- All chapters: https://www.betterreads.online/discover/plays_se/chapters