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EducationResourcePack

The Canterbury Tales

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ThispackisbroadlyintendedforstudentsatKeyStage4andupwards.CONTENTS Page Part1 DRAMA Tales from the Broadside 3

AguideforstudentsthroughtheNorthernBroadsidesProductionofTheCanterburyTales;realisingthetextforperformance.Synopsisoftheplot,thepilgrimsandthetales.MeettheTeam Writer MikePoulton 15 Director/composer ConradNelson Assistantdirector/Actor AndyCryer

Puppetmakerandadvisor LeeThreadgold Movementdirector MattBugg MusicalDirector RebekahHughes.AndinDepth

Aconversationwithdesigner LisEvansTellingTales–ideasfordramaimprovisationandpuppetry 21

Part2 HISTORY Hearts and Bones 23

PlacingTheCanterburyTalesinhistoricalcontext. WhyCanterbury? TheMartyrdomofThomasBecket. Atimelinefrom1066–1189 TimeDetectives–suggestionsforhistoricalresearch. 27

Part3 ENGLISH The Poet’s Tale 28AcloserlookatthelanguageofChauceranditssignificance;versestructure;storytellingandgenreWhowasGeoffreyChaucer?

Chaucer’slanguage.

What’syourstory,Pilgrim?–discussionandcreativewriting. 30

Websitestovisit,andacknowledgements 31

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DRAMA

Tales from the BroadsideAsynopsisoftheplayTheplayopenswiththepoet,Chaucer,explaininghowinthespringtimeoftheyearfolkliketogoonpilgrimages.HeishimselfstayingattheTabardInninSouthwark,atthestartofhisownpilgrimagetotheshrineofStThomasBecketatCanterbury.Suddenlyagangof‘nineandtwenty’otherpilgrimsburstinandtakeovertheplace.TheHostoftheTabardInnwelcomeseveryoneandproposesalittlecontest.OnthewaytoCanterburyeachpilgrimwilltellatale.Upontheirreturn,theHostwillprovideadinnerasaprizeforthebeststory.Theydrawstrawstodecidewhoshouldgofirst,andsoitfallstotheKnighttobegin.Onthejourneythepilgrimstellmanytales,inmanystyles,untilatlasttheycomeintoCanterbury,wheretheParsonoffersprayersofdevotionandinvokestheblessingofStThomasonall.

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THE PILGRIMS and their tales…

The Knight­Anexperiencedcampaigner,andofhighstatusinthegroup,heembodiesallthevirtuesofchivalry. The Knight’s Tale TwoprincesofthecityofThebes,cousinsArciteandPalamon,aretakenasprisonersofwarbytheAthenianDukeTheseus.ThroughthewindowoftheirprisoncelltheybothseteyesontheladyEmileeandfalldeeplyinlove.AfteratimeTheseus’friend,DukePerotheus,pleadsforArcite’srelease.TheseusagreesandArcitereturnstoThebes.Bothprincesbelievetheothermostfortunate:Arciteisfree;butPalamonmaylookonEmileeeveryday.ArcitepinesawayinThebesuntilMercuryappearstohiminadream,tellinghimthathisdestinyliesinAthens.ArcitereturnstoTheseus,disguisedasaservant.ArcitequicklyrisesintheDuke’shouseholdtobecomeTheseus’squire.Thenonenight,Palamonescapesfromprisonanddiscovershiscousin,posingasaservant.TheirfightdrawstheattentionofTheseuswho,onDiscoveringArcite’strueidentity,andhisrivalrywithPalamonforEmilee,agreestoletthemcontestformallyforherhand.

Thetwoyoungprincespreparetheirarmiesforbattle;PalamonprayingtoVenus(GoddessofLove)forvictory,andArciteplacinghistrustintheWarGod,Mars.MeanwhileEmilee,whodoesn’treallyfancygettingmarriedatall,praystotheGoddessDianathatshemightstaysingle.Thedayofbattlearrivesand,whenPalamoniswounded,itappearsthatArciteandtheGodMarshavewontheday.Butatthelastmoment,Arciteisthrownfromhishorse.Ashedies,hegivesPalamonandEmileehisblessing.

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The Monk - Aworldlymanwho regardstheancientrulesofmonasticlifetobeoutofdate. AccordingtoChaucer,thismonkis‘notamantowastetimeinthechoir/Heloveshishorses,greyhoundsandthechase’.

The Monk’s TaleIntheoriginalCanterburyTales,theMonktellsnolessthanseventeen‘tragedies’aboutgreatmenwho,duetosomefatalflaw,fallfromgrace.ThesemenincludeLucifer(Satan);Adam;Samson;HerculesandNero–drawingonbiblical,historicalandClassicalsources.AllthesestorieswouldhavebeenveryfamiliarinChaucer’stime,buttheyhavelittletheatricalmerittoday.InhisnewversionforNorthernBroadsidesMikePoultonskilfullyrefocusesthefunctionoftheMonkwithinthenarrativetocomiceffect.FollowingtheKnight’stale,hebeginsbewailing‘inmannertragical’,butit’ssoonapparentthatheisgoingtobeveryboring,whichoffersanopportunityfortheMillertointerrupt.TheMonkgetsasecondchanceattheendofthefirsthalf,whereMikebringstheintervalcurtaindownasheisbeginninghistale.ThesecondhalfthenpicksuplistentotheMonksometimelaterwhenthepilgrims,stiffwithboredom,concludehistaleofCroesus–reiteratinghisrecurringtheme­thateventhegreatestmencannotescapetheficklefingerofFate,atwhichpointtheKnightinterruptshim.It’saneatsolutionfromMikePoulton,whomanagestoincludetheMonk’stale,withouttheaudiencehavingtolistentoanyofit.

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The Miller - A drunkard and a thief. Chaucerwarnsusofthesmuttynatureofhistalesaying,‘thosewhoareforhighmoralsandgoodtaste/Shouldnowbegone.’ The Miller’s Tale Anoldcarpenterhasanewyoungwife,Alison,whomheguardsjealously.Lodgingwiththenewlywedsisa

poorscholar,Nicholas,whoearnshismoneythroughthestudyofastrologyandthetellingoffortunes.Alustyyouth,hesetshiscapatAlisonandtogethertheyplothowtheycangetthecarpenteroutoftheway.NicholaspersuadesthecarpenterthathehasseenJudgementDaypredictedinthestars.Agreatfloodiscomingtoendtheworld,andonlyhe,thecarpenterandAlisoncanbesaved.OntheadviceofNicholas,thecarpentersetsthreebarrelshangingintheraftersofthehouse,sothatwhenthefloodwatersrise,theymaycuttheropesandfloatfree.OntheeveofJudgementDay,(thefollowingMonday),allthreeclimbintotheirbarrels;butNicholasandAlisonquicklyclimbbackoutoftheirsandgobackdowntothebedroomto‘swyve’allnight.InthemiddleofthenighttheParishClerk,Absolon,passesbeneaththebedroomwindowofAlisonandlustyNicholas.AbsolonisinlovewithAlisonandbeginstosingatherwindow.Whensheappearstoscoldhimhebegsakissofher.Sheagrees,butsticksherbottomoutofthewindow,whichhekisses‘fulsavourly’.Realisingthathehaskissedan‘arse’,Absolondecidestogethisownback.Hefetchesapokerfromthefireofthelocalsmith,andreturnstobeganotherkissfromAlison;onlythistimeit’sNicholaswhostickshisbumout,fartinginAbsolon’sface,whois‘halfblindereitsforceisspent’.Nevertheless,Absoloncanseewellenoughtofindhismarkwiththeredhotpoker!AsNicholasscreamsinpainathisburningbumandcallsfor‘water,water’,thecarpenterthinksthisisthefloodrisingandcutstheropesonhisbarrel.Heplungestotheground,breakinghisarminthefall.Thetaleconcludeswithalltheneighbourslaughingatthefoolish’cuckoldedcarpenter,andageneralroundupoftheinjuries:Alisoniswell‘swyved’;Absolonhas‘kissedhernethereye’;Nicholasis‘scaldedinthetowt’.

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The Reeve - Anofficialchargedwithmanagingthelandsandestateofalord.Thisparticularreeve,namedOsewald,isacorruptandcunningmanwhohas‘grownrichbyfilchinganythinghecan’.Beingacarpenterbytrade,hetakesoffenceattheMiller’staleandtellsastoryinresponse. The Reeve’s Tale SetinthetownofTrumpington,thisisthetaleofadishonestmiller,wholiveswithhiswife,theirbuxomdaughter,Maylinandababe­in­arms.Themillerisknowntobeathief;filchingaportionoftheflourandcornthatisbroughttohimforgrinding.However,no­onecanproveit,andthemillersimplydeniesit.Twoyoungscholars,JohnandAleyn,begtheMasteroftheirCollegetogivethemleavetotakethenextloadofcornforgrinding,sotheycanseehowit’sdone–butmainlysotheycanmakesurethemillerdoesn’tstealanyflour.Theypostthemselvesateachendofthemillingprocess,watchingthecorngoinandtheflourcomeout–butwhiletheyaredistracted,themillersetstheirhorseloose.Theycomeouttofindthattheirhorsehasrunontothefen;andwhilethescholarsareoffchasingit,themillerstealssomeoftheirflour.Bythetimethehorseiscaughtit’stoolatetosetoffhome;andso,foraprice,themillerfeedstheyoungscholarsandmakesupabedforthemintheonebedchamber,whereeverybodysleeps.Achorusoffartsandsnoresfromthemillerandhisfamilykeepsthetwoscholarsawake.Theyknowtheyhavebeenduped,andAleynisfeelingdecidedly‘lusty’.HecreepsovertoMaylin’sbedandgetsin.Shedoesn’tobjectand‘swyveing’soundscansoonbeheard.Meanwhile,Johntriesanothertactic.Hemovesthebaby’scotfromthefootofthemiller’sbedtothefootofhisown.So,whenthemiller’swifegetsupinthenightto‘piss’shereturnstothewrongbed.More‘swyveing’.Justbeforedawn,AleynleavesMaylin’sbedtoreturntoJohn,butmakesthesamemistakeasthemiller’swife.Hegetsintothebedwithoutthecot–whichis,ofcourse,themiller’sbed.Intheensuingfight,themillergetsagoodkickingandthescholarsretrievetheirstolenflour.AndtheReeveisquitswiththeMiller.

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The Cook - RogerHodgefromWare–agoodcook,we’retold,and‘blancmangesarehisspecialitee’.However,hispersonalhygieneleavessomethingtobedesiredevenbymedievalstandards;nottomentionthenasty,itchyulceronhisknee.The Cook’s Tale TheCookbeginsataleof‘harlotry’,aboutanapprentice,whoenjoysdrinking,gambling

andswyveingmorethanhonestworkandissackedbyhismaster.Hegoestolivewithafriendandhiswife.Thefriendisalsoaloverofdice,drinkandwomen;andhiswifeusesashopasafrontforprostitution…ThestoryissovulgarandtoldinsuchcoarsetermsthatitprovestoomuchforthepilgrimswhohavealreadysatthroughtheReeve’staleandtheMiller’s,andcantakeonlysomuchfilth.TheCookiscutshortinfavouroftheMonk,whohasanothergoattellinghis‘tragical’tale…

Interval

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TheSquire­Thislikelyladisabitflashierthanhisfather,theKnight.Heimagineshimselftobesomethingofaladiesman,butonlythePardonerseemstofancyhim.TheSquire’sTaleAfalteringstarttothistale,astheSquirecan’tquiterememberitright.ThePardonerandSummonerbaithimwhilehetriestogetagripofhisstory.

Youhavetolistencarefullytogleanthatit’saboutaKingcalledCambyuskaninthelandofTartary,whoisgiventhreemagicpresentsbyayoungknight:aflyinghorsemadeofbrass;amirrorinwhichmaybeseenthetruthinmen’ssouls;andaring,whichenablesthewearertounderstandthemagicofbirds.TheKingthengivesthemagicringtohisdaughter,whoseesafalcononatree–woundingherselfbecauseherhearthasbeenbroken.TheSquirethenswitchesbrieflybacktotheKing,thenpromisesanothertalealtogether,andbecomessoconfusedthatno­onecanfollowtheplot.TheHostcomestotherescue,buttheSquireisdejectedatnotbeingabletofinishhistale.

The Pardoner ­ThiscorruptpriestepitomisestheworstexcessesofthemedievalChurch,sellingdivineabsolutioninexchangeforcash,and‘piggy’sbones’asholyrelics.Thereisselfconsciousironyinhismoralfable,whichdemonstratesthatgreedistherootofallevil.

The Pardoner’s Tale Amoraltaleofthreerichyoungmen,whowastetheirlivesandmoneyinanexcessofdrinking,gamblingandwomanising.Onenight,whiletheyaresittinginatavern,‘soakedindrink’,theyhearadeath­bellringingoutsidebeforeacorpseonitswaytothegraveyard.Theyaretoldthatthedeadmanisafriendoftheirs,thathewaskilledsuddenlybyathiefcalledDeath,andthatthissameDeathhaskilledmanyother

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men,womenandchildrenthatyear.ThethreedrunkenyouthssetouttofindDeathandkillhim;andswearanoathofloyaltyandlovetoeachotherinthisquest.Nextmorningontheroadtheymeetamysteriousoldman,whodirectsthemtoanoaktree,wheretheywillfindDeath.Instead,beneaththetreethemenfindarichstashofgoldflorins–andpromptlyforgetallabouttheirquesttokillDeath.Theyagreethattheycannotcarrythegoldhomebydaylight;sotheydrawstrawstodecidewhichonewillfetchfoodandwine,whiletheothertwostandguarduntilnightfall.Thetwomenremainingonguardsecretlyplottokilltheotherwhenhereturns,andsplitthetreasuretwowaysinsteadofthree.Meanwhile,theirintendedvictimhasreturnedtotownandboughtpoisonfromanapothecary.It’shisintenttopoisonthewineandkeepthegoldforhimselfalone.Andso–twooftheyoungmenstabthethirduponhisreturnfromthetown;butwhentheydrinktotheirnewfoundwealth,theyarebothpoisoned.Hence,allthreedrunkenmendoindeedfindDeathatthefootoftheoaktree.ThePardonerthenchidesmankind(andthepilgrims)fortheirsinfulnessandofferstosellthempardonsfromthePope.Forapricehewillwritetheirnamesonascroll,whichwillguaranteetheirstraightpassagetoHeaven.

TheWifeofBath‐Thismatureladyhasmadeagoodcareerofbeingawife,havingburiedfivehusbandsandonthelookoutfornumbersix.Chaucertellsusthatshe’squitedeaf,andhasbeenonmanyotherpilgrimagesbeforethisone.TheWifeherselfgivesusthebenefitofherexperienceandphilosophyofmarriage–‘Perfectisfornuns.I’dratherbeawife’

TheWifeofBath’sTaleAnArthurianfableabouta‘lustybachelor’whoforceshimselfonayoungmaid,andforthiscrimeofrapeiscondemnedtodeathbytheKing.However,theQueenintercedeswithataskfortheyoungknight.Hislifewillbesparedifhecandiscoverwhatitisthatwomendesiremost.Hehasayearandadayinwhichtocompletehisquest.

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Onhissearchtheknighthearsmanyanswerstothisquestion,butcannotfindthedefinitiveanswerthatappliestoallwomen.Theyearpassesquicklyandheissorrowfullyreturningtofacehiscertaindeathwhenheencountersanoldwomaninawoodlandglade.Shepromisestotellhimtheanswertohisquestionifheswearstograntherthenextthingsheasksofhim.Theyoungmanwillinglyagrees.Allthecourtturnsouttoheartheyoungknight’sanswertotheQueen’sriddle–‘thethingallwomenwantissovereigntyo’ertheirhusbands’.Nowidow,wifeormaidcouldcontradicthimandhislifewasspared.Atwhich,theoldcronespokeupanddemandedherpartofthebargain.Sheaskstobetheknighttotakeherashiswife.Theyoungmanbegshertoaskanythingelseofhim,butthisisherdemandandhemaynotrefuseher.Theyaremarriedthenextday,andthatnightheislessthanenthusiasticinbed;untilhisbrideguideshisthoughtstoappreciateanoldwifeandbewaretheproblemsofayoungandbeautifulwife.Overwhelmedbyherwisdom,theknightgivessovereigntytoherandpromisestoloveher,whateverherageorbeauty.Satisfiedwithhisacceptanceofher,theoldcronethentransformsintoabeautifulyoungmaidenandtheylivehappilyeverafter–thusprovingthatitistothebenefitofmentogivetheirwivesmasteryoverthem.TheClerkofOxenford­Apoorandpiousscholar,theClerk’staleisprobablythemostchallengingofallforamodernaudiencetounderstand.Italmostseemslikeamaster‐classinmentalcruelty,butthisisaprofoundreligiousallegory.Thecentralcharacter,Grisilde,representstheperfectChristiansoul–pureandconstant,evertrustinginherLord.Ultimately,herhumilityandendurancearerewarded.TheClerkofOxenford’sTaleAnItalianMarquis,underpressuretomarryfromhispeople,selectsapeasantgirl–Grisilde.Upontheirmarriageshepromisesfaithfullytonevertodisobeyhimindeedorthought.TheMarquiswishestotestherconstancyandwhentheirfirstchildisborn,hetellsGrisildethatthepeopleareunhappywithhismarriagetosuchalowbornwoman.Forthisreasontheywillnottoleratethechild,andshemustdie.Grisilde,despitehergrief,surrendersherdaughterwithoutcomplaint.

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Sometimelater,whenaboyisborn,theMarquisgivesthesameexcusetotakehimfromhismotheralso.Again,Grisildeisunchangedinherlovetoherhusband,andacceptanceofthesuffering.AftermanyyearstheMarquistestsheryetagain,bydivorcingherinfavourofanew,youngwife.ThisGrisildeaccepts,anddoesn’tevenflinchwhenhethenaskshertoreturntothepalaceasaservanttohisnewwife.Atthispoint,theMarquisisfinallysatisfiedandrevealstoGrisildethatthisnewwifeisinfacttheirdaughter,andherpage–theirson.Hehasnotkilledthem,butkeptthemsafe.HeacknowledgesGrisildeashisonetruewifeandsetsherintheplaceofhighesthonour,athisrighthand–nevertotestheragain.

TheMerchant­Asmartandsuccessfulmanofbusiness,thismerchantwisheshiswifewereaspatientasGriselde.TheMerchant’sTaleAknightofLombardy,uponreachinghissixtiethyear,hasastrongurgetofinallybemarried.

Afteralifetimeofwomanizing,hewishestowedandtakeonewoman,lawfully,tobed.Hisfriendsurgecaution,buthefixesonamuchyoungerwoman,May,andtheyarequicklymarried.Theknight’syoungsquire,Damyan,fallsmadlyinlovewithhismaster’snewwife.Hewritesheraloveletter,declaringhisdesire,andsherespondsfavourablytohisadvances.Theylackopportunitytomeetand‘swyve’–until,‘inmidstoflust’,theoldknightissuddenlystruckblind.Beingblind,theoldknightisnowfiercelyjealousofMayandwillnotletherleavehisside.So,sheandDamyancookupacunningplan…Onesunnydaytheoldknightandhiswifetakeawalkintheirprivategarden,whereDamyanishiding,upapeartree.Whiletheknightissittingbeneath,Mayclimbsupintothetreetopicksomefruit!ThegodPlutolooksdownuponthissceneanddecidestorestoretheoldknight’ssighttohimintimetocatchthelovers.Thegod’swife,Proserpine,however,takespityonyoungMayandbestowsonherthewittothinkofanexcuse.

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Consequentlytheoldknightwitnesseshiswifeandsquireintheirlustfulembrace,butMayexplainsthatshewastoldbyawizardthatherhusbandwouldrecoverhissightifshewereto‘struggle’withamaninatree.Theoldknightissatisfiedwiththisexplanationandallthreegohomecontent.TheManciple Apersonresponsibleforthepurchaseandstorageoffoodforacourtoflaw.TheManciple’staleAGreekmythsetinthedayswhenthegodApollostilldweltonearth,andkeptacrow.Thecrowis,atthistime,purewhite–andpossessesabeautifulvoice.Apolloalsohasawife,whomhelovesdearlyandguardsjealously;butneverthelessshetakesalover.ThecrowdiscovershersecretandtellsApollo,whokillsherinhisrage.Instantlyregrettingwhathehasdone,Apolloturnsonthecrowandcurseshim–turninghiswhitefeathersblack,andhissweetvoicetoanugly‘caw’.TheManciplethendelivershismoral–tobewareofspreadinggossip,whetherit’strue,ornot.

AttheendoftheManciple’stale,thepilgrimsarriveatCanterbury,wheretheParsonleadstheminprayerandahymninpraiseofStThomas.

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Pilgrimswithouttales

GeoffreyChaucer ApoetstayingattheTabardInninSouthwark,beforeembarkingonapilgrimagetotheshrineofStThomasBecketinCanterbury.Chaucerisunderpressureatintervalsalongthewaytotellatalehimself.WhentheyarealmostatCanterburyhefinallybeginstotellastoryofahandsomeknight,SirThopas,whodreamsthattheelfqueenshouldbehislover.ThisisasfarasChaucergets,ashispoetryissobadthatheisquicklyshouteddownbythepilgrimsinfavouroftheManciple.It’sanicemomentofselfmockeryfromthepoet–whoinfacthascreatedthewholepiece.TheHostLandlordoftheTabardInnandakindofselfappointedMasterofCeremonies.It’shisideathatthepilgrimseachtellataleonthewaytoCanterbury;andheputsuptheprizeof‘supperbought,atourexpense/Hereinthisplacewhenwereturnfromthence’.TheTavernBoyAtavernboy.TheYeoman‘AnEnglisharcher,afraidofnoman,’andaservantoftheKnight.ChaucermayhaveintendedgivingtheYeomanatale,buthenevergotroundtoit.ThePrioressAgenteelreligiouslady,ifalittlepretentious;herinoffensiveaffectationsincludespeakingFranglais.Inourproductionshehasnotale,butshedoeshaveadog–andthereby,atail.TheNunsAccompanyingthePrioress.TheSummonerThe‘red­facedharlot’Summoner’sfunctionistosummonoffenderstoappearatthechurchcourts–buthe’snotaboveabribe.TheParsonAnhonestpilgrim,untaintedbytheworld–bringsusintoCanterburywithsolemnityandaprayerfulofficeofdevotion.

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NORTHERNBROADSIDESandThe Canterbury TalesMeettheteam…MikePoulton‐Writer

Photo:NobbyClark

InselectingwhichtalestouseforthisnewversionofTheCanterburyTales,Iwaslookingforabalancebetweencharactersandtaleseverybodyknowsandloves,andsomeofthemoreunfamiliartales.Ialsoneededtoarrangethemsoasnottolosethesenseofpilgrimage;eachtalebuildingonthelast,sothatajourneyismade,ineverysenseoftheword.Chaucernevercompletedthiswork,andhispilgrimsdon’teverreachCanterbury.However,forasatisfyingtheatricalpresentation,Ifeltitwasimportantthatasweseethepilgrimssetout,sowealsoseethemarriveattheirdestination.Whatevertheircharacter,theyallhavethisunderlyingreligiousneedtokneelattheshrineofStThomas–andtheaudiencemustseethemdoit.

ConradNelsonDirector/Composer

Photo:DebMc

Apartfromtheelectriclight,there’snothingtechnicalinthisproductionthatcouldn’thavebeendone600yearsago.Set;costume;puppetry;music–it’sall‘unplugged’fromthe21stCentury.Wedidn’tconstrainourselvestodoitlikethis–it’sthenatureofthepiece.Butthatdoesn’tmakeiteasy.Thisenormousplaymakeshugedemandsofthecompanyandtheaudience.Eightcompletetales,andfourbrokenones–allwithaunique,theatricalidentity;told,acted,sung,playedwithimmediacyanddefinition.Andtherealworldofthepilgrims,likethemortarthatbindsthewholethingtogether–fighting,flirtingandfartingtheirwaytoCanterbury,andfinallyunitedinachievingtheirspiritualgoal.

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AndyCryerAssitantDirector/Actor

Photo:DebMc

Inourproductionweallhavetosing,playinstrumentsandmanipulatepuppets­inadditiontoplayingseveralcharacterseach.Incastingthisshow,ConandIhadtofindmulti­skilled,generousactorstobepartofatrueensemble.Themultiplerole­playingisn’taboutdoingfunnyvoices,orsillywalks;it’sabouthonestyandsimplicity,witheveryactorinvestingineverystory.UltimatelytheTalesthemselvesarethestarsoftheshow.

RebekahHughesMusicalDirector

Photo:NobbyClark

Everypieceofmusicinthisproductionwentthrougharigorousprocessofdevelopment.Lotsofresearchwentintofindingexactlytherightfeelforeverymusicalpassage,andtherearemanystyles:medieval(obviously);NewOrleansJazz;Western;HighOpera;Folk;RussianSacredmusic…Someofthemusicissourcedfromearlymanuscripts,butmostlyithasbeencomposedbyConrad.ThemostchallengingpiecetosingisClangatTuba–amedievalhymntoStThomasBecket.Itgivesustherightfeelingfortheperiodandatrulyspiritualliftattheendoftheperformance.

MatthewBugg‐MovementDirector

Photo:NobbyClark

Thisisaveryphysicalshow.Thebreadthofphysicalityandthepaceofworkhavebeenverychallengingformyselfandtheactors.We’vehadtofindourwayveryquicklyintofights,maypoledancing,puppetry,travel,slapstick,tango…Myroleistoassessthephysicalabilityandpsychologicalapproachofeachactortogetthebestoutthem,whilstkeepingthemcomfortableandconfidentinthework.EverythingIdomusthelpthemtellthestory.Ifitdoesn’t–it’sgottago!

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LeeThreadgold–Puppetmakerandadvisor

Photo:NobbyClark

Weareusingseveraldifferentkindsofpuppetinthisproduction:glovepuppets;humanettes;hobby­horses;objecttheatrepuppets;rods;andshadows.Somehavebeenmadeinadvanceofproduction,andsomearecreatedfromobjectslyingaroundonthestage.Eachpuppethastointeractwiththeplayinawaythatisconsistentwiththeenvironmentinwhichitispresented.Therearetwodistinctworlds–the‘real’worldofthepilgrims,andthefantasticalworldofthetales.Toblendseamlesslywiththestorytellingisourgoal.

Andindepth…ConversationwithLisEvans–Designer.Wednesday10thFeb–weektwoofrehearsals.

Beginnings…Iseemyjobasbeingtobringtheessenceoftheplay,andtheessenceofthedirector’svisionfortheproductiontogether;tocreateacontextandenvironmentthroughwhichthetextmaybeenrichedandtoinformtheaudienceinwaysthatthewordsalonecannot.Myfirstpointofcontactwithanyplayistoreadthescript.HavingreadMikePoulton’sversionofTheCanterburyTales,IthenhadadetaileddiscussionwithConradNelson(Director)andmadesomewide,roughnotesabouthisideasfortheproduction.WealsometwithLeeThreadgold(Puppetmaker),asConradknewfromthestartthatpuppetswouldbepartoftheproduction–andthereforepartofthedesign.BecausethiswassuchabigprojectIhadtostartworkonitquitefarinadvance.

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Setandprops…ThepreviousNorthernBroadsidesshowsI’vedonewereforquitesmallvenues,butTheCanterburyTalesisgoingtosomebigspaces,soIneededthisdesigntobeversatile.ThetourbeginsinNewVicTheatre,whichisintheround;butthedesignhastoadapttoothertheatreshapesandsizes.

Ineededakindofkitthatcouldexpandandcontract.

Ihadimagesinmymindofmedievalarchitecture–aroughwoodenlooktothings,cruckbeamsandtrusses;lotsoftimber.Iwantedtocapturethesenseofjourneyintheplay.Andinaway,thestagingitselfisgoingonapilgrimage–ontour!Thesetandpropsmusthaveaportablefeel–rollup,packaway,stacketc…

Wecouldn’tcreateawholenewsetofcostumesandpropsforeverystory,soeverythingonthestagehadtobemultifunctional.

Thecompanyalsoneededthefacilitytocreatethemanydifferentkindsofspacesintheplay–interiors,exteriors–palaces;cottages;towns,woods–andwefinishupinCanterburyCathedralitself.

Ithadtobeclog­friendly,hardwearing,fireproof,portable…Theanswerwastousewoodenpallets;likeabigtoybox.Wehadfifty‐fivemadeintotal;theyslottogetherinvariousconfigurationsandwecanusemoreorless,dependingonthevenue.Somehavedoorsandslotsintowhichvariousotherbitsofsetcanfit;andfouraremoveableduringperformance.Wealsoneededsomeheight–whichiswherethetowercomesin.It’sneededforseveralstories,soitearnsitsplaceintheproduction.

There’snofrivolity.Everythinghastobemultifunctional

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I’mreallypleasedwiththepallets.Theyweremadeoutsidethebuilding,butwhentheyarrivedandweassembledthemforthefirsttimeIwasreallyexcited.They’resosimple,butsatisfying.CharacterandCostume…Therearesixteenactorsinthisproduction,playingaroundeightyroles,soIneededtodoadetailedcharacterbreakdown.MikePoulton’sscriptdoesn’tuseallChaucer’sProloguetotheCanterburyTales,butIstudieditcarefullyforthebrilliantdescriptionsofthepilgrims.Ialsodidadetailedbreakdownofthetales–andidentifiedakeysetofimagesforeachstory.

Wetriedtobeasauthenticaspossible.Ididalotofresearchonmedievalclothing.Wedidn’thavemuchmedievalstock,somyteamhasmadeeverything,usingauthenticmedievalcuts;andpaidattentiontodetailonhemlinesandnecklines.We’veusedmostlycottons,woolsandsilks;andavoidedprints–patternsarewovenorembroidered.Coloursaremuted,likevegetabledyes.Wedidn’thavethetimetohandseweverything,butthere’snotalotoftop‐stitchingsoyoucan’tseethemachinesewing.

Nozips;woodenbuttons;leatherthronging.We’vealsohadpropermedievalshoesmadefortheentirecast.Ifyou’vegoteverythingauthentic,modernshoeswouldjustspoilthelook‐andactorsmovedifferentlyinthemtoo.Thereisalotofdetailonthecostumesthatwillbelostinsomeofthelargervenues,butisveryimportantforthesmallertheatres–especiallyintheround.

Intheround,charactersarealmostascenicelement.Allthecostumeshavetosurvivealongtour.Theymusthardwearing,comfortableandhaveawashablebaselayer.I’vehadtouseplasticflowersintheheadgarlandsinsteadofdriedflowers,whichjustwouldn’tlastthetour

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Ihavecheatedslightlynotputtingthemenintights.Mostmendon’tlookgoodinthemandIdidn’twanttheactorstolookorfeelsilly‐soI’vecompromisedwithtightfittingleggings.Inormallyliketoinvolvetheactorsinatleastthedetailingoftheircostume,butIhadtoworkaheadofcastingonthisproject.Eachactorhasabasiccostumefortheirpilgrim–thenadd‐onsforthestorycharacters.

Pilgrim ThePardoner Base–redlinentunic;greyleggings

+ Greycoatandbelt;withpocketsforrelics;ahat,withStVeronica’shandkerchiefonthefront.

InKnight’sTale 3rdQueen + Greekdrape;coronet;veiltosuggesthair.InMiller’sTale Absolon + Softhat;waistcoat.InWife’sTale 5thWoman + Henninandwimple;lowgirdlebelt.InClerk’sTalePriest + Clericalcape;skullcap.Thewholeprocessofbeingatheatredesignerisvariedandwonderful.Yougettoworkwithinventive,talentedpeople.Thejobinvolvesdrawing,makingmodels,fabricshopping,literature,workingwithagroup–acollaborativeprocess.Thenyousendyourworkoutalloverthecountryforpeopletoenjoy.

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Telling Tales

DRAMAexerciseCreateasimpleobjectpuppetAnobjectpuppetiscreatedfromeverydaythings–sometimescalleda‘junkpuppet’.IntheNorthernBroadsidesproductionofTheCanterburyTaleswecreatedobjectpuppetstobethechildrenintheClerkofOxenford’staleofpatientGrisilde.

Thecastinrehearsalwithanobjectpuppet

Photo:NobbyClarkTocreateyourownobjectpuppet,allyouneedisasquarepieceofmaterialandasmallballofmaterial,oraclothbag.Puttheballofmaterialinthecentreofthesquareandgatherituptoformahead.Stretchouttwocornerstocreatearms,andbendhalfwayalongtomakeanelbowSeparatetheothertwocornerstomakefeet.Alternatively,ifyourpuppetiswearingalonggown,youcanleavethe‘skirt’drapingonthefloor,andcatchthepuppetatthewaistinsteadtogivestructure.

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PracticewithyourpuppetAfewpointersfromourPuppetmaker,LeeThreadgold.

• Howdoesitmove?• Howdoesitwalk?Considerthegaitofyourpuppet.• What’sitscharacter?Isityoungorold?Maleorfemale?Doesitbelongtothe

‘real’world,orthefantastical?• Audiencesnaturallyfallintoempathizingwithapuppetwhenitissensitively

portrayed.Lessisoftenmore.• Identifywherethepuppet’sintentionisfocused.Whatdoesitwant?• Avoidgratuitousmovement.Ifthepuppetscratchesitshead,itmusthavea

reason–egpuzzlement.• Howdoesthepuppetinteractwithotherpuppets/realpeople?

Photo:NobbyClark

Leewiththeteam,inrehearsal

NowdeviseyourowndramatizationofThePardoner’sTale.CreateapuppettoportraythecharacterofDeath(themysteriousoldman)

• Considerhowthepuppetiscreatedwithinthedramatization.

• Considerhowthepuppetmoves.Howmanyareneededtomanipulate?

• Doesthischaracterneedfeet?Oraflowinggown?

• Howdotheliveactorsinteractwiththepuppet?

• Howcreativecanyoubewithyourpuppet,symbolizingDeath?

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HISTORY

Hearts and Bones

WhyCanterbury? Earlyhistory

In597StAugustinearrivedontheKentishcoast,onamissionfromthePopetoestablishtheChurchinBritain.TherehadbeenChristiansinBritainsinceRomantimes,butthefaithwasscatteredatthewithdrawalofRomeandtheinvasionoftheAnglo‐Saxonpeoplesinthe5thand6thCenturiesAD.AugustinefoundalanddividedintovariousAnglo‐Saxonkingdoms,ofwhichKentwasone–ruledbyKingEthelbert,whowasmarriedtoaChristianwoman.Thus,favourablyinclinedtowardsChristianity,ElthebertpermittedAugustinetosettleatCanterburyandtopreach.ItistraditionallyrecordedthatonWhitsunday597EthelbertwasbaptizedatCanterburybyStAugustine;thefirstAnglo‐SaxonkingtoembracetheChristianfaith.

Overthe400yearsfollowingtheconversionofKingEthelbertagreatcathedralgrewupatCanterbury,andsuccessiveArchbishopswereenthronedinAugustine’schair.BythetimeoftheNormanConquestof1066,theChurchofRomehadestablisheditselfthroughoutBritain,withCanterburyastheprimalseatofecclesiasticalpower.

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TheMartyrdomofThomasBecket

On29thDecember1170fourknightsbrokeintotheCathedralatCanterburyandmurderedtheArchbishopincoldblood,infullviewofthemonkswhoweresingingvespers.ArchbishopThomasBeckethadincurredthewrathoftheking,HenryII;whohadcertainlyincited,ifnotexplicitlyordered,hisdeath.

Thetwomenhadoncebeengreatfriends,butconflictarosebetweenthemconcerningtheindependenceoftheChurch.Thedispute,whichdeepenedoveranumberofyears,wascomplex,butmaybeboileddowntothefactthatHenrywishedtomakeclericssubjecttocivillawandjustice,likeeveryoneelse;amovewhichThomasresisted.

Fromamodernperspectiveit’seasytoseeHenry’spointofview.However,it’simportanttorememberthatthesesecularcourtswerenotcomparablewithourmodernjusticesystem,andthepunishmentstheyadministeredincludedmutilation,tortureandavarietyofnastymethodsofexecution.ThepoliticalmanoeuvringsofbothBecketandHenryoverthecourseofthisdisputeweresubtleanddifficulttodiscern.Sourcesandperspectivesvaryenormously,andareinevitablycolouredhistoricallybywhathappenednext…AfteraperiodinexileBecketboldlyreturnedtoCanterburyintheDecemberof1170.UponlearningofthisHenry,itseems,wasgoadedbyBecket’senemiesthattherewouldneverbepeaceinEnglandwhiletheArchbishoplived.Atthis,Henryisreportedtohaveflownintoarageandutteredhisnowlegendarycry–‘willnooneridmeofthisturbulentpriest?’

FourknightstookHenryathiswordandtravelledtoCanterburytoconfrontBecket,whoseemedtobenowcourtingmartyrdom.Whilethemonksweresingingvespers,theknightscaughtupwiththeArchbishopinsidetheCathedralitself.Thereweremanywitnesses,andcontemporaryaccountsaresurprisinglyconsistentandgraphic.TheknightsstruckBecketaboutthe

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head–thekillerblowactuallyslicingoffthetopofhisskull,spillingbrainsandbloodacrossthestonefloor.

Becket’spolitickinghaddividedmanyintheChurch,buthewaspopularwiththepeople.WithinhoursofhisdeaththeCathedralwasthrongedwithmournersasaviolentstormragedoutside.Itmusthaveseemedthatnatureitselfwasoutragedbythisatrociousmurder.Withindays,miracleswerebeingattributedtotheslaughteredpriestandjustthreeyearslaterThomasBecketwascanonizedbyPopeAlexanderIII.

Themiracleswere,ofcourse,onesofhealingandrestoration–whatothermiraclesarethere?TheremainsofStThomasandthesiteofhismartyrdombecameaholyshrinevirtuallyovernight.AmongtheearlypilgrimswastheKinghimselfwho,inJuly1174,walkedbarefootthroughthecityandwasfloggedbythePriorandalleightymonksofChristChurchPrioryinpublicpenanceforhispartinthedeathofBecket.Apoliticalratherthanspiritualact,asyou’dimagineakingwouldhavethemeanstobuyforgiveness,evenformurder,fromtheroyalPardoner.

AfireguttedtheCathedralquirejustsixweeksafterHenry’svisit,butfundsprovidedbythemanypilgrimspaidforthebuildingofanewshrinetohonourStThomas.PilgrimswereaconstantsourceofrevenueforCanterburyCathedralthroughoutthemiddleagesand,arguably,havebeeneversince.

ApproximatelytwohundredyearsafterthedeathofThomasBecket,attheheightoftheSaint’spopularity,ChaucerbeganworkonTheCanterburyTales,aboutatypicalgroupofpilgrimsenroutefromtheTabardInnatSouthwarktotheshrineofStThomas.

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Timelinefrom1066–1189

1066 WilliamI,theConqueror,firstNormanKingofEngland.1086 DomesdayBookiscompletedinEngland.1087 WilliamII,Rufus,KingofEngland.1100 HenryI,youngestsonofWilliamtheConqueror,KingofEngland

followingassassinationofWilliamRufus.

1120 William,sonofHenryIofEngland,isdrownedinwreckofthe"WhiteShip"

1129 Matilda,daughterofHenryI,marriesGeoffrey,CountofAnjou;nicknamed"Plantagenet".

1135 KingStephensucceedsHenryI,intheabsenceofamaleheir.StephenisthesonofHenry’ssister;thereforehisnephew,andthegrandsonofWilliamI.

1153 HenryofAnjou,sonofMatilda,invadesEnglandandforcesStephentomakehimheirtotheEnglishthrone

1154 HenryII,grandsonofHenryI,KingofEngland;thefirst‘Plantagenet’king.

1155 HenryappointstheArchdeaconofCanterbury,ThomasBecket,ashisChancellor

1162 BecketisappointedArchbishopofCanterbury.

1164 HenrymovestoreinstatelawsgoverningthetrialofclergyinEngland.Theselawsdatebacktohisgreat‐grandfather–WilliamtheConquerer.Becket,inconflictwiththeking,isforcedtofleetoFrance,andremainsinexilefor6years.

1170 BecketreturnstoCanterbury;ismurderedintheCathedralbyfourknights.

1173 BecketcanonizedbyPopeAlexanderIII

1174 KingHenryIvisitstheshrineofStThomasatCanterbury

1189 RichardI,CoeurdeLion,eldestsurvivingsonofHenryII,KingofEngland(to1199)

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TIMEDETECTIVES...

TopicsfordiscussionandresearchWhatinterestsyou?Startdiggingandseewhatyoucanfindout.Choseoneormoreofourtopics,orfollowyourownlineofenquiry.

A Medieval MurderTHEFOURASSASSINSWhowerethefourknightswhomurderedThomasBecket?Whatweretheirnames?Wheredidtheycomefrom?WhathappenedtothemafterthedeathofBecket?THEVICTIMFindoutmoreaboutthelifeofThomasBecket.Whenandwherewasheborn?Whatkindofamanwashe?Whowerehisfriends?Whowerehisenemies?Whatwashisrelationshipwiththekingreallylike?Whatwasitinhischaracterthatmadehimdefendhisprinciples–eventodeath?THEKINGCreateacharacterprofileforHENRYII–what’shisstory?HenrywasthesonofGeoffreyofAnjou,whosenicknamewasPlantagenet–afterthebroomflowerwhichwashisemblem.HenryisknownasthefirstPlantagenetking.WhowerethePlantagenets?HowdidtheyshapethefollowingcenturiesofBritishhistory?WhowasthelastPlantagenetking?

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ENGLISH

The Poet’s Tale Geoffrey Chaucer wasbornthesonofaLondonvintnerintheearly1340s,andasayouthworkedasapagefortheCountessofUlster.Hisadultcareerwasnothingifnotvaried–soldier;diplomat;controllerofcustomsfortheportofLondon;clerkoftheKing’sworksandJusticeofthePeace.Chaucerwasindeedascholar,buthehadn’tspenthislifewithhisnosestuckinabook.Hewaswidelytravelled,vastlyexperienced,highlycapableandenjoyedthepatronageoftwosuccessiveKings,EdwardIIIandRichardII.Nevertheless,hisfameisasapoet,andhiscrowningachievementisTheCanterburyTales–aboutatypicalgroupofpilgrimsenroutetotheshrineofStThomas.Thecontest,proposedbytheHostoftheTabardInn,isthateachpilgrimshouldtelltwostoriesonthewaythere,andtwoonthewayback.Thebeststorytellerwinsaslap‐updinnerattheHost’sexpenseontheirreturn.Infact,Chaucerneverfinishedhismostfamouswork‐completingjust24fullorbrokentales,andanintroductoryPrologue.ChauceristhefirstgreatpoetoftheEnglishlanguage–thatis,hewroteinEnglishatatimewhenNormanFrenchwasspokenbytherulingclasses,andLatinwasthelanguageofscholarship.ChaucerwroteinthevernaculardialectofhisSouthEasternhome‐quitedistinctfromhisanonymouscontemporarywhowascomposingGawainandtheGreenKnightintheEnglishoftheNorthWest.Itlookslikeaforeignlanguageonthepage,notleastbecausetherewasnoconsistencyinspellingatthistime;butspeakitoutloudandit’samazinghowmuchmaybeunderstoodbyaspeakerofmodernEnglish.HaveagoatreadingtheseopeninglinesoftheGeneralProloguealoud…

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Rulesofthumb:

• Chaucergenerallyusestensyllablestoaline.

• Thepoemisinrhymingcouplets.

• Oftenan‘e’ontheendofawordispronouncedasaseparatesyllable–usuallywhenthenextwordbeginswithaconsonant.

WhanthatAprillwithhisshouressote1Thedroghte2ofMarchehathpercedtotherote3Andbathedeveryveyne4inswichlicour5Ofwhichvertuengendredistheflour6WhanZehpirus7eekwithhisswetebreethInspiredhathineveryholtandheethThetendrecroppes,andtheyongesonne8HathintheRamhishalfecoursy‐ronne;9Andsmalefowlesmakenmelodye,Thatslepenalthenightwithopenyë10SoprikethhemNatureinhircorages11Thanlongenfolktogoononpilgrimages,Andpalmeredfortosekenstraungestrondes,12Tofernehalwes13,couthe14insundrylondes;Andspecially,fromeveryshiresendeOfEngelondtoCaunterburytheywende,Theholyblissfulmartirfortoseke,Thathemhathholpen,whanthattheywereseke.15

1sweetshowers2dryness3root4vein5suchmoisture6bywhichpowertheflowersgrows7thewestwind8thesun9passedhalfwaythroughthezodiacalsignofAries(theram)10eye11Naturespurstheirhearts12pilgrimsseekforeignshores13faroffshires14found15sick

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……….What’s your story, Pilgrim?

TopicsfordiscussionExaminethesynopsesofthetalesinthisdocument–

• Canyouidentifythevariousgenresinwhichthetalesaretold?• Arethereanytaleswhichfitintomorethanonegenre?• Canyoudiscoveranycommonthemesinthesetales?• Arethesethemespresentinstoriesanddramatoday?

• Considertherelationshipbetweenthetaleanditsteller.• Doesthetellerhaveavestedinterestinthemoral,oroutcome,oftheirtale?• Trytoidentifyareasonwhyeachpilgrimchoosestotelltheirparticulartale.

Specificstudy–ThePardoner’sTale

• WhatkindofpersonisThePardoner?• Whatisthegenreofhistale?• Whydoeshechoosetotellthisparticulartale?• Considerthehistoricalcontext.

ConsiderthestructureofThePardoner’sTale:beginning/middle/end.Creativewriting–ThePupil’sTaleImagineyourselftobeamongthepilgrims.WhatmightChaucerhavesaidaboutyou?Whatstorywouldyoutell?

• Writeapoemofrhymingcouplets,describingyourselfamongthepilgrims.

• Writethetaleyouwouldtelltotheotherpilgrimsonthejourney.

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WebsitestovisitForfurtherinformationonpuppetry,visit–http://www.dramaresource.com/resources/drama-books/creating-puppetsForfurtherinformationonCanterburyandThomasBecket,visit­www.canterbury-cathedral.orgTohearhowChaucer’sEnglishmighthavesounded,visit­www.luminarium.orgAcknowledgementsImages–thanksto:Photos:NobbyClarkFrontcoverimage:JohnBradleyPilgrimimagesfromtheEllesmeremanuscript,sourcedat:www.luminarium.org ThomasBecketwindowimages,sourcedat:sacred-destinations.com Otherimages:karenswhimsy.comgodecookery.com fotosearch.jpEducationpackwrittenandcompiledbyDeborahMcAndrewforNorthernBroadsides©2010