The Society for the Study of Medieval Languages and Literature are pleased to announce the 2022 Medium Ævum Annual Lecture will be taking place on Saturday, 2 July (4:30-6pm BST):
Dr Ryan Perry (University of Kent) will deliver the annual lecture on ‘Middle English Books of Devotion and Liturgical Privatisation in Fifteenth-century England’, as part of the ‘Pfaff at 50’ conference at the University of Nottingham marking 50 years since the publication of Richard W. Pfaff’s ground-breaking New Liturgical Feasts in Later Medieval England.
Dr Perry’s lecture will examine several devotional texts (such as pseudo-Bonaventure’s Meditationes vitae Christi and its English redaction by Nicholas Love) alongside manuscript assemblages to investigate how vernacular religious materials were put in service of individualised or household reading programmes. Such programmes might imitate the rhythms of the official liturgy or alternatively be understood in some respects as quasi-liturgies, reflecting improvised devotional regimens and structures of pious observance.
Following the successful Medieval Mystery Cycle 2.0, plans are underway for the third iteration of what has fast become an Oxford tradition. Please reserve the date of 22 April 2023 (Saturday before Trinity Term) and spread the word! We are looking for actors, directors, musicians, prop makers, and above all a graduate convenor who will take on the mantle of Eleanor Baker in masterminding the operation. Have a look at seh.ox.ac.uk/mystery-cycle for getting a sense of the scope and watching the plays performed in 2019 and 2022.
Please send expressions of interest for the Graduate Convenor by 30 June 2022 to Co-Directors Henrike Lähnemann and Lesley Smith under medieval@torch.ox.ac.uk
Proposals are invited for the second conference organised by the Oxford Medieval Commentary Network, following the successful launch of the Network last year. The one-day conference will take place at Christ Church, Oxford on 29 September 2022.
The Oxford Medieval Commentary Network is a multi-disciplinary network for research and discussion of medieval commentary culture and its long afterlife. OMCN aims to bring together research on traditional forms of commentary as well as research on commentaries in a broader sense, including interpretations of texts through visual art, performance, music, and drama. OMCN seeks to establish a conversation between scholars from a range of disciplines working on different languages and geographical areas. This includes the medieval period and post-medieval responses to the commentary tradition. The longer-term objective for OMCN is to become a nexus of research and discussion of medieval commentary culture and its expression in various textual and artistic forms. The network is open to everyone with an interest in these topics.
Proposals are invited for presentations of 15 minutes on all aspects of the medieval commentary tradition and its post-medieval responses. Topics can include, but are not limited to, biblical interpretation, commentaries on classical texts, forms of commentary, textual criticism, interplay between Latin and the vernacular, etc. Please submit your title and abstract (150-200 words) by 31 July 2022 via this form. If you wish to attend without giving a paper, please sign up via the same form, by 31 August 2022. The workshop is free for all participants and will include a sandwich lunch and wine reception.
For further information, see www.medievalcommentary.network, or contact Dr Cosima Gillhammer, cosima.gillhammer [at] chch.ox.ac.uk.
The Faculty of History and Oxford Medieval Studies are pleased to invite you to an informal meet and greet coffee morning with William Chester Jordan (Professor of Medieval History, Princeton University) on the occasion of his reception of an honorary degree of the University of Oxford. When? Thursday 23rd June, 10.30am-12 noon Where? The garden of Harris Manchester College (Mansfield Road), or in the Warrington Room in the case of rain. Coffee and croissants will be provided. For catering purposes, please register your attendance if possible: https://forms.gle/AkvPUsX2Ur1hbgTU7
Bill Jordan gave the 2021 Oxford Medieval Studies keynote lecture “A Thirteenth-Century Polymath Considers the Jews” – watch it here:
Organisers: Dr Dinah Wouters (Amsterdam), Sarah Fengler (Oxford)
Liturgical drama in the Middle Ages starts by adapting the most cherished texts of European culture: Scripture. Once introduced as a common practice of dramatising the Bible, European drama kept producing scriptural plays. While there was a strong German tradition of medieval mystery plays, the history of biblical drama is by no means limited to the German cultural sphere. New formats and modes of biblical drama developed through the centuries and in different language areas: from French mystery plays, humanist sacred comedies and tragedies, Jesuit Bible drama, and Spanish Golden Age autos sacramentalesthrough to neoclassical biblical tragedy, biblical Trauerspiele in the German Empfindsamkeit, and scriptural plays in English Romanticism. Furthermore, there was a rediscovery of the so-called cycle plays during the nineteenth century, and even today biblical narratives are still being staged, from modern and postmodern biblical plays through to Broadway and movies. A large number of writers from various eras debated the question of how Scripture can be dramatised, including Hugo Grotius, Jean Racine, Friedrich Gottlieb Klopstock, Voltaire, George Gordon Byron, and Pier Paolo Pasolini, to name but a few.
In this workshop, we want to explore the continuities, (in)consistencies, and break lines in the history of European biblical drama. Our objective is to come closer to a diachronic, transnational, and comparative perspective on biblical drama as a literary genre.
Programme
09.00-09.30 Arrival with coffee and tea
09.30-09.45 Opening words
09.45-10.45
Keynote by Daisy Black (University of Wolverhampton) Hole-y Bodies: Exploring gender in the textual gaps of medieval and modern biblical drama
One of the key challenges with the diverse texts collected into the asynchronous structure we call ‘the Bible’, is that these scriptures are fundamentally ‘holey’ as well as holy. By nature of their compilation, form and function, they present us with holes in the text, holes in the narrative, and holes in characterisation. Such holes seem to frustrate the process of dramatization, in which divine stories and beings must be given body, direction and story. Meanwhile, the mere act of staging scripture entails its own issues of embodiment, threatening to expose the aching gap between venerated or divine figures and the bodies representing them. Yet for generations of those seeking to dramatize scripture, both scriptural and physical ‘holes’ have also presented opportunities: gaps through which contemporary concerns might be expressed, explored, rationalised and raised in protest. This is particularly the case in the staging of narratives involving women, whose scriptural origins tend to be even more ‘holey’ than those of male figures. Using English-language case studies from the medieval, early modern and modern periods, this paper examines how playmakers across time have grappled with gaps, and used them to give voice and body to ideas about gender and how we choose whose stories are told.
10.45-12.15 Panel 1
Tovi Bibring (Bar-Ilan University and University of Oxford) Disciplining Emotions in The Mystery Play, Le mistere du Viel Testament as a Case Study
Written by several authors, the 45 mysteries that were compiled in the fifteenth century in an opus referred to as Le mistere du Viel Testament are not merely an “encyclopedia of sacred knowledge, traditions and legends,” as labeled by their modern editors. They are also an important source for understanding the history of emotions in medieval and early modern times. Yet, despite the fact that literary research on the subject has developed greatly over the past years, influenced by the discipline of history of emotions, biblical adaptations in general, and biblical drama in particular, remain quite neglected. Scriptural narratives left enormous lacunas regarding the psychological outcomes of the events experienced by the biblical protagonists. Like any genre of biblical literary adaptation, the different mysteries contained in Le mistere thus provided fertile soil for speculative amplifications about such emotional states. Authors and dramaturges alike could “recontextualize” the psychological implications of any biblical episode in their contemporary setting, and, quite judgmentally, direct the audience toward a supervised formation of their emotions. Such texts thus played a double role, simultaneously constructing the emotional discourse and evaluating it, instructing the audience whether to accept or reject it. In my presentation, I would like to demonstrate the means by which such biblical adaptations acted as an agent to disciplining emotions, according to this double role. Aspiring particularly towards the theorization of the specific contribution of the biblical mystery play to the emotive discourses, I will show the similarities and differences between the mysteries and other genres that perform this literalization of the imagined emotional consequences of the biblical material, such as devotional and didactic texts and parodies.
Cecily Fasham (University of Oxford) Teaching Faith: Performing Pedagogy in the Jeu d’Adam
The Jeu d’Adam represents the earliest extant script for a drama in French or a vernacular language of England. Although the single extant manuscript, MS Tours 927, dates from the late 12th century and was copied in the Loire valley, it is written in Anglo-Norman dialect, and orthographic evidence suggests that its Occitan-speaking scribe struggled with his earlier copytext’s unfamiliar language.
The play has an episodic structure, dramatizing Adam and Eve’s fall from Eden, followed by Cain’s murder of Abel, and a procession of prophets largely adapted from the Pseudo-Augustinian Sermo contra Judeos, Paganos, et Arianos, which includes a debate between Isaiah and a Jew. The Jeu d’Adam has traditionally been viewed as a ritual drama, emerging from liturgy and the performative ceremonies of church services; my paper explores interconnections between the play and contemporary pedagogical practices, building on Christophe Chaguinian’s study of the manuscript in MS Tours 927 and the Provenance of the Play, which locates the play in the context of a large secular institution, such as a Cathedral school.
I examine the Jeu in relation to Peter Cantor’s tripartite educational schema of lectio, disputatio, and predicatio. This reveals that the play employs lectio and disputatio (which pertain to the building of faith), but avoids resolving learning into predicatio (preaching good conduct). I argue that through this, the playwright opens up to his vernacular audience the behind-the-scenes methods of learning faith usually reserved for Latinate students, teaching his audience how to discover divine truth for themselves, through the figural reading of Scripture. He uses debate-scenes to test these truth-claims, and to problematise ideas of textual authority and literary production. The playwright takes on the role of interpres: translator, mediator, prophet, and teacher, modelling a way of engaging with and discovering truth in Scripture drawn from the twelfth-century classroom.
M.A. Katritzky (The Open University) Female religious leaders and the medieval spice-merchant scene
Female religious communities contributed significantly to the highly efficient transnational cultural networks of the medieval Catholic Church; in terms of circulating images, vernacular texts, and above all Latin texts. Drawing on visual as well as textual medieval documents, some previously unknown to specialists, my current researches explore the decisive, previously under-recognized role of their contributions to the development of the so-called merchant scene of biblical drama, representing Easter Holy Women purchasing spices from one or more generally itinerant healers. Encouraged by highly educated female religious leaders in France, Austria, the central Czech and German-speaking lands and elsewhere, theatrical representations of spice-purchasing Holy Women circulated between religious communities right across Europe. As they did so, they moved ever closer to legitimating women on the religious stage, and to providing it with a deeply moving female counterpart—at the end of Christ’s life—to the male-dominated visit of the spice-bearing Kings who herald its beginning.
Through their creativity and patronage, female religious leaders were the first to recognize the great significance of the merchant scene for Easter ceremonies. Their influential repurposing and secularization of this brief biblical episode achieved a substantial, popular, dramatic vehicle for explicating the origins of the Easter Holy Womens’ spice containers, and for extending and emphasizing the impact and importance of the Easter story’s Holy Women in biblical drama. Making full use of the powerful transnational cultural networks of the Catholic Church to communicate between their mostly Benedictine communities, the female religious leaders who contributed most significantly towards establishing the merchant scene as a popular, even dominant, element in Easter performances, instrumentally influenced the development of the European religious stage.
12.30-13.30 Lunch
13.30-14.30
Keynote by Jan Bloemendal (Huygens Institute, Amsterdam) The Bible on the Early Modern Stage: A Transnational Approach
In the Early Modern period, several Biblical stories were popular themes for dramatic productions. The playwrights were Christians themselves and their audiences were similarly Christian, be it in the course of the sixteenth century more confessionalized. Protestant humanists and Jesuit fathers wrote Biblical plays for the educational situation, and chose, for instance, the story of Adam and Eve, Abraham, Joseph, Esther, Jephthah, stories from the Books of Kings, and parables of the Good Samaritan, the lost sheep, the poor Lazarus and the Rich man, and the Prodigal Son. Also the life and death of Jesus was the subject of some plays. We can deal with these plays as individual dramas, but also as nodes in a network. Authors were inspired by each others’ plays. In this paper, I will explore ways of researching them in transnational ways.
14.30-15.30 Panel 2 (chair: Rasmus Vangshardt)
Wim François (KU Leuven) Biblical Drama and Politically Incorrect Ideas in the Early Modern Netherlands
Francisca Stangel (University of Kent) Sapientia Solomonis: Transcending national, cultural, and socio-economic borders
15.30-16.00 Break
16.00-17.00 Panel 3
Rasmus Vangshardt (University of Southern Denmark) Beauty and the Bible in Two Old Testament Plays by Lope de Vega
Sarah Fengler (University of Oxford) German and Swiss Old Testament Plays in the Eighteenth Century. Klopstock, Lavater, Bodmer
17.00-18.30 Panel 4
Alina Kornienko (Université Paris-VIII-Vincennes-Saint-Denis) Le paradigme du “fil prodigue” dans l’œuvre de Jean-Luc Lagarce / “Retracing your own footsteps”: the paradigm of the “prodigal son” in the dramatic creation of Jean-Luc Lagarce
(ONLINE) Jean-François Poisson-Gueffier (Université Sorbonne-Nouvelle Paris 3) Create or recreate? Paul Claudel and the Medieval French Biblical Drama
(ONLINE) Giampaolo Molisina (University of Wisconsin-Madison) Pasolini’s Vangelo and the Loss of the Sacred Dimension in Contemporary Man
Register
If you want to register, either to attend the conference in person or to follow the two online presentations, please send an email to sarah.fengler@mod-langs.ox.ac.uk and dinah.wouters@huygens.knaw.nl.
When? – 11 am – 4 pm, Monday 23rd May Where? – New College’s Lecture Room 4
As part of New College Library’s series of subject-themed exhibitions, on Monday, 23 May we shall have on display for you rare books and manuscripts from the library’s fabulous collections relating to Botany and Zoology.
This exhibition is the latest in a series, instituted in 2018 by the library, that has so far featured Classics, Geometry and Astronomy, Modern Languages, and New College Women Writers. And it marks our return to subject-themed exhibitions since the start of the pandemic.
For this display, we are providing you with a rare opportunity to see, among many other treasures: a 13th-century manuscript of Pliny’s Historia naturalis; the first known description of plants from the Americas (1542) by Leonhart Fuchs (after whom the fuchsia is named); the best-known English herbal, by John Gerard (1633); the first published book by New College fellow Robert Sharrock, on growing vegetables (1660); a first edition of Robert Hooke’s spectacular Micrographia (1665); and a printed natural history of Oxfordshire, with the first known published illustration of a dinosaur bone (1677).
From 11 am till 4 pm on Monday in New College’s Lecture Room 4, we shall be exhibiting for you—with explanatory captions—some of our Botany and Zoology treasures.
The Oxford Medieval Society is pleased to announce our first event of Trinity Term 2022, a Roundtable Discussion with Professors Sara McDougall and Hannah Skoda.
We invite all interested parties to attend the event on Thursday 26th May at 13:00-14.30, in the New Seminar Room in St. John’s College. Participants will be able to ask questions and engage in discussion with Professor McDougall and Professor Skoda on a shared area of their research, Marriages, Unmarriages, and Subjectivities.
Professor Sara McDougall is Associate Professor of History at John Jay College of Criminal Justice (City University of New York) and coordinator of the Medieval Studies Certificate Program at the CUNY Graduate Center. Specialising in legal history, her research focuses primarily on women and crime in medieval France and explores topics such as gender, marriage, religion and illegitimacy. Her publications include Royal Bastards: The Birth of Illegitimacy, 800-1230 (Oxford University Press, 2017) and Bigamy and Christian Identity in Late Medieval Champagne (University of Pennsylvania Press, 2012). Professor McDougall is in Oxford this term as an Astor Visiting Lecturer.
Professor Hannah Skoda is Fellow and Tutor in Medieval History at St. John’s College, Oxford, and specialises in the cultural and social history of the later Middle Ages. She has particular interests in education, conflict, ownership, slavery and constructions of deviance in late medieval Europe. Her monograph Medieval Violence: Physical Brutality in Northern France, 1270-1330 (Oxford University Press, 2013) won the Society for Medieval Feminist Scholarship’s 2014 Best First Book Prize, in which year she was also awarded a Philip Leverhulme Prize to explore nostalgia in the fourteenth century.
The Oxford Medieval Society is pleased to announce a public lecture by Dr Charlotte Cooper-Davis on Thursday 9th June 2022.
Dr Cooper-Davis will speak on the topic of “Christine de Pizan: Guilty Feminist?”.
The lecture will take place in the New Seminar Room in St. John’s College, 13:00-14.30.
About the speaker: Dr Charlotte Cooper-Davis is an Honorary Research Fellow of the Faculty of Medieval and Modern Languages at the University of Oxford, and the author of Christine de Pizan: Life, Works, Legacy (Reaktion Press, 2021). Her DPhil thesis explored text-image relations in de Pizan’s works, and a resulting monograph is currently under contract with ARC Humanities Press.
Please direct any queries to oxfordmedievalsociety@gmail.com.
Image credit: British Library MS Harley 4431, f.259v (courtesy of Wikimedia Commons).
Following a two-year pandemic break, it was a joyous occasion for all to be able to attend in-person the second annual performance of the Oxford Medieval Mystery Plays hosted by St Edmund Hall on 23 April last week. The production was led by Professor Henrike Lähnemann, St Edmund Hall Fellow and Professor of Medieval German Literature and Linguistics, and Professor Lesley Smith, Fellow and Tutor in Politics and Senior Tutor at Harris Manchester College, and expertly managed by Dr Eleanor Baker, Project Support Officer for the Post-GCSE Inspire Programme at St John’s College and medieval literature specialist. The full cycle was live-streamed by Natascha Domeisen and is available for watching on the St Edmund Hall Youtube Channel and also linked in to the website dedicated to the Oxford Medieval Mystery Plays.
We’ll be your guide to every play: Mystery Cycle organisers (left) and Jim Harris as Master of Ceremonies (right)
Featuring 11 plays in 6 languages (Middle and Modern English, Spanish, French, German and Latin), the ‘spectaculum’ opened with a performance of period music by the Anonymous Minstrels before The Revd Dr Zachary Guiliano rang the Chapel bell to mark the opening of the Mystery Cycle. We were introduced to each play through prologues prepared by the linking verses creator, Prof David Maskell, and wonderfully performed by our Master of Ceremonies, Dr Jim Harris, who guided attendees across college to each play location. These prologues were essential not only to the day’s enjoyment, but also to making the medieval materials accessible to a modern audience providing plot summaries and descriptions of what we were about to see through rhyming verse!
A marvellous boat will shortly appear: Scenes from the Killing of Abel (Left) and Noah’s Ark (right)
The Mystery Plays presented Biblical stories from Creation to the Resurrection, and were brought to life by an incredible cast of actors, academics and students with links to Oxford Medieval Studies. The Faculty of English kicked things off in the Old Dining Hall with the stories of Creation and the Fall, accompanied by a digital video featuring manuscript illustrations by Prof. Dan Wakelin. We were then led into the front quad to witness the Holloway Mystery Players perform the killing of Abel, followed by the story of Noah’s Ark by Medieval Studies students, which receives an honorary mention here for the best props of the event, including fabric waves and an inflatable parrot standing in for the dove (link to the recording). The morning concluded with the sung Magnificat in a play of the Visitation by Jasmine and the Kilnsians.
You’ll see a dog but it’s a sheep: Timmy waits for his cue (left) and James Howarth as King Herod (right)
Following a short tea break, the play cycle continued in the atmospheric churchyard of St Peter-in-the-East (now College Library). The Pastoral Players provided comic relief as grumpy shepherds and a thief in the Shepherd’s Play, with the Principal’s dog Timmy stealing the show as a reluctant ‘sheep’ and kindly supported by Prof Kathy Willis and her daughter Alice. The entertainment continued with the story of the Wise Men performed by the Wise Women in Spanish, and the Massacre of the Innocents with College Librarian James Howarth playing Herod the Great alongside the 5th Week Blues.
Now to a new location for John the Baptist’s decollation: A scene of the saint’s beheading (left) and the Lazari players (right)
The best special effects of the cycle featured in the playgroup Les Soeurs de Sainte-Hilde, with their version in French of St John the Baptist’s arrest and grisly beheading (read a reflection on the process of directing a play in French by Prof. David Wiles, the director of the play). This was followed by the English MSt students performing the story of Lazarus, with 6 players of Lazarus rising from the churchyard to great effect (here the recording). Undergraduate students then performed a Middle English depiction of the Crucifixion from the York Mystery Cycle dating from the 14th century. The Mystery Plays concluded with a delightful performance in Middle High German, Latin and English by the Mercantile Minstrels, with mischievous merchants, a fight scene, and a chorus of angels merrily announcing the miracle of Christ’s Resurrection (here the recording).
Christ ist erstanden: The Crucifixion (left) and the announcement of the Resurrection (right)
This year’s Mystery Play Cycle was incredibly fun and a fantastic opportunity to engage with medieval culture through the wide-ranging skills of staff and students of Oxford Medieval Studies. The day ended with an exhibition display of works relating to the Easter story in the Old Library. A filming crew worked hard throughout the day to provide a livestream of events for online viewers, that can now watched back on St Edmund’s Hall YouTube Channel (four streams: 1: Creation to Noah, 2: Visitation to Herod, 3: Herod ctd. and 4: John the Baptist to Resurrection). We’re excited to see the continuation of what surely now has become an Oxford tradition!
Dr Alison Ray is a medievalist and the archivist at St Peter’s College, Oxford.
The French play was part of the Oxford Medieval Mystery Cycle performed on 23 April 2022 in St Edmund Hall, University of Oxford. The Playgroup: Les Soeurs de Sainte-Hilde (avec la participation de quelques paysans d’Iffleï) had been formed for the occasion by director: David Wiles The play is part of a cycle, ‘Le mystère de la passion’, written in the mid C15th by Arnoul Gréban, organist at Notre Dame cathedral, and doubtless also choirmaster. Full text available open access.
People ask me: “Why did you decide to do a play in French?” Implication: it’s an English-speaking audience, and they won’t understand – middle-English bad enough. Three responses to this one. 1. Political: not good to live in a monoglot culture, and unlike modern scholarship the medieval world did not view life through the lens of the nation-state. 2. Theatrical: to communicate through action and the body is a challenge which forces actors to engage with language on a different level, and reach out to their audience. 3. Intellectual: venturing into Gréban’s text was a journey of discovery, as impenetrable hieroglyphs yielded slowly through rehearsal into recognisable speech patterns, with every phrase having its theatrical work to do. What looks like literary doggerel turns out to be theatrical gold.
An interesting research question follows – what are the cultural continuities that make Gréban’s mighty four-day passion play recognisably French, when set alongside the familiar English cycles? Centralisation is one feature – responsibility not subdivided to autonomous guilds, but a single integrated work for an urban community to mount. Another is the French ability to listen and maintain concentration upon the word. In the English texts, action typically takes place between stanzas, but in the French text couplets conjoin speeches, so each new speaker has a rhyme to echo in order to come in on cue, a feature we found invaluable. The sustained rhythmic flow ratchets up the tension, with enough variety of register and poetic form to hold the spectator’s attention. Like the alexandrines of Racine, the eight-syllable medieval line has a lilt that asks to be animated by the arms, so different from English metres which asked to be stamped with the feet.
After seeing the performance, a friend asked me: “What lesson was the play is supposed to impart?” Implication: medieval theatre was didactic, a case of the church telling the peasants what to think. There is no simple moral to the John the Baptist sequence. In the artistic structure John’s martyrdom is there because it foreshadows Christ’s. People didn’t need telling that tyrants are venal, rather, it’s the recognisable social reality upon which a drama is built. Herod has his reasons for acting, and he washes his hands like Pilate. The medieval Salome is an enigma – we are free to draw our own conclusions, not told what to think. The urge to create theatre or art is a human constant, responding to the sensation of life as a cosmic mystery. The idea that medieval theatre is ‘didactic’ is a handy modernist cliché, serving the narrative of progress, and all the cultural arrogance which that narrative commonly instils. My preferred picture of the longue durée is one of progressive fragmentation, and I find in medieval theatre a holistic model of how theatre used to embrace and address a complete community in all its diversity, along with the gamut of human experience – comic and tragic, bestial and sublime – before dedicated theatre buildings and professionalism in acting and penmanship locked theatre into its lonely compartment.
David Wiles is Emeritus Professor of Drama at the University of Exeter, and lives in Iffley. He is a theatre historian whose main specialisms have been Greek and Shakespearean drama. He wrote the entry on medieval theatre for the Oxford Illustrated History of the Theatre. His medieval CV includes a student production of the plays of the Wakefield Master in the gardens of Westminster Abbey, Mankynde in the Burton Taylor rooms, a crucifixion on a farmer’s trailer in Buckingham marketplace, staging three plays by the C10th nun Roswitha, and a community production of the N-Town Creation/Fall and York Noah in Iffley.
Repeat performance of the play at Iffley Church on 24 April 2022. Cast: John the Baptist – Laurence Nagy Manasses (disciple) – Alice Hawkins Sophonias (disciple) – Laura Laube Herod – Alex Marshall Herodias – Irina Boeru Salome – Alice Hawkins Groignart A (servant) – Kate Bunn Groignart B (servant) – Andrew Stilborn Amphiarus (noble) – David Wiles Radigon (noble) – Laura Laube God – Henrike Lähnemann Crew: Director: David Wiles Consultant: Sebastian Dows-Miller Head Creator: Andrew Stilborn Filmed by Isabel Reichenbach
