Някои наблюдения върху движението в макромащабните морални пиеси с фокус върху „Замъка на устояването“
Some observations on movement in large-scale moral plays with a focus on „The Castle of Perseverance“

Summary/Abstract: The article examines the dynamics of movement and stage topography in large-scale medieval moral plays, focusing on Th e Castle of Perseverance. The analysis also examines the preserved stage sketch, interpreted as a symbolic mappa mundi, where the scaffolds (loca) of God, the World, the Flesh, and the Devil create a spiritual cartography, and the stage (platea) becomes a battlefield for the soul of Mankind (Humanum genus). The hybrid nature of the drama, which combines different subgenres (spiritual pilgrimage, the Heavenly Parliament, etc.), is emphasized. Through its movement between the podiums, the Mankind outlines its moral choices. Th e specific dynamics of the characters are examined: the aggressive and chaotic wandering of the Vices and their masters (the World, Belial, the Flesh), who engage in boastful monologues and actively attack Humanity on the platea, contrasts with the restraint and unobtrusiveness of the Virtues. Emphasis is placed on the effect of „immersive theatre“, in which the immediate proximity to the actors on the platea and the likelihood of physical contact with the infernal and satirical figures create both laughter and fear, placing the audience in a liminal space. In this context, the movement of the characters (climbing, descending, marching, attacking) does not follow the familiar liturgical conventions, but serves as a physical representation of the soteriological strategy of the character-generalized image. Th e final „procession“ of the Daughters of God, who rescue the soul of Humanity from the Mouth of Hell, emphasizes the theological difficulty in resolving the antinomy between justice and mercy.

• Details
• Contents