Stage Makeup

The stage makeup on Adam and Eve should be next to bear. The only exception to this is foundation for stage lights, but whatever the venue is they should look natural. The idea here is that they seem "fresh" or "new". This can be contrasted with makeup to enhance God's "godliness". The brighter and more exciting God can look, the better and more effective it will be. Using colors like gold and silver make him look of higher status. Maybe eye makeup could consist of these bright shiny colors to enhance the concept of God. But the two makeup designs between the humans and God should be drastically different.






Work Cited:
Google Images Search: "Bare Stage Makeup"

The York Cycle

It is important to remember that this play is just in the series of plays telling the entire story. In a way this is just a scene from a larger play. Keeping this in mind, it is important to set this up as if it is just a segment. Having aspects from earlier plays and later plays, such as the tree, fruit, leaves, and serpent already on set, could only benefit and assist to the idea that this is just a segment, not a play in itself. The York cycle covers everything from creation to the end of Genisis. This set should be adaptable to fit into the other plays. Any other cast, if different, should be able to walk on and continue the action of the next plays in the series with the same scenery. This is also important to show that this is only one portion of the story they are telling the audience, not just the technical aspect of story arch.


Work Cited:
Google Images Search: "Pageant Wagons"

Discovering a New Place

In terms of acting notes, it is important that the characters of Adam and Eve come onto the set with surprise. If this work is of wonder and amazement, the audience should see that with Adam and Eve. As told in the Book of Genisis, the monograph written by Moses, "[B]ut there went up a mist from the earth, and watered the entire face of the ground..." (Genisis 2:6). This shows how new and incredible such things we see today as basic were. Something as simple as water covering the ground in mass should be amazing. Looking at this, how great should Eden be at first glance, especially if it is the first thing two people see after the creation?

Work Cited:
Google Image Search: "Large Body of Water"

Moses, First. The Holy Bible. Book of Genisis. King James. Print.

Stage Directions

The majority of these plays contained a large amount of specific stage direction. Because this specific play does not call for stage directions in the text, it is a clue as to how much movement should be included. As stated in the document Medieval Stage Directions found in Nagler's text, the stage directions seem required to keeping the ideals of the original performances. Because the goal of this performance is to stay as close to the authenticity as possible, it is important to stay close with the stage directions. Because there are no stage directions mentioned in the text, there should be next to no movement on stage. The actors should enter and stand, then exit. If there was meant to be more movement, it would say so in the script.

Work Cited:
Nagler, A. M.. "Medieval Stage Directions." A Source Book in Theatrical History. ed. A. M. Nagler. New York: Dover Publications, Inc., 1952. Print.

The Portrayal of God

As talked about in Jean Q. Seaton's article 'What have I offended unto thee?', Seaton discusses to ramifications of portraying God with more humanistic qualities. The purpose of these plays is to give an accurate representation of the bible stories. Making God more human is only dimeaning to the people that believe in how "godly" he truly is. Oxford Reference Online describes 'godly' as "devoutly religious; pious: how to live the godly life" (ORO "godly"). Bringing down God to a human level isn't devoutly religious because it contradicts with the idea that God is an almighty being. If the point is to make this accurate in order to tell the story, God should be a larger then life idea. Therefor God should be draped in gold and bigger than the actors playing Adam and Eve. He should speak in a large booming voice and have a crown. Anything that can make him seem "larger than life" would be helpful to this idea of everything being authentic and accurate. 

Work Cited:
Google Images Search: "God"

Soanes, Catherine, and Angus Stevenson. "Godly." Oxford Reference Online. 2nd Rev. Ed. Oxford, United Kingdom: Oxford University Press, 2003. Web. 

Seaton, Jean Q. "`What have I offended unto thee?': God as three-in-one in the Chester Mystery Cycle.." English Studies 73.4 (1992): 300-11. Web. 2 Dec 2010. 

Nudity

An obvious dilemma presented in these plays is what Adam and Eve wear as they are naked in this particular play. The purpose of these plays were to tell the story as it was portrayed in the bible, leaving little wiggle room for liberties. In this case, for modesty of the actors and the audience watching, nude spandex should be used. This is representational of the nudity they have and allows them to be comfortable in what they are wearing, or not in this case. Because Adam and Eve were so comfortable with their nudity, it is important for the actors to do the same. Going off the idea of simplicity, these are basic and easy to use. In terms of making it easy on the costumer, this is the ultimate idea. Overall, nude spandex is what should be used for this nudity on stage.


Work Cited:
Google Image Search: "nude spandex"

The Garden of Eden

Oxford Reference Online describes Eden as a paradise of sorts. “[T]he place where Adam and Eve lived in the biblical account of the Creation, from which they were expelled for disobediently eating the fruit of the tree of knowledge. • [as noun] ( an Eden ) a place or state of great happiness; an unspoilt paradise: ...” (ORO “Eden”). Therefor the scenery should look like a paradise. Bright colors and luscious trees are important. The scenery should be mostly greens in order to contrast with the bright colors of the fruit, but both should be bold none the less. This should also be a set that invokes a large amount of light. The feeling this play gives is of light and hope; which also makes the colors stand out more. The more light, the brighter and more vibrant the colors. This means open spaces allowing light to poor in. Putting together these aspects of color and light, the set should seem more "paradise-y" and heavenly.





Work Cited:
Google Images Search: “eden” 

Soanes, Catherine, and Angus Stevenson. "Eden." Oxford Reference Online. 2nd Rev. Ed. Oxford, United Kingdom: Oxford University Press, 2003. Web.

Sizing the Scenery

Because these plays were normally performed on pageant wagons, it would be representative to make this performance in as small of a space as possible. Making the scenery seem confining is beneficial to the authenticity of the performance. This current production will not take place on a pageant wagon, but making similar design choices could help. Such as the dimensions of the pageant wagon dictating the playing space, four “support beams” reaching up supporting a covering structure, and having a limited amount of set pieces and props to show simplicity. According to Oxford Reference Online, a pageant wagon is “[a] wagon used as a mobile stage on which were performed mystery plays and related dramas in the Middle Ages. The term is sometimes also applied to a play performed on such a movable stage, usually a mystery play” (ORO “pageant wagon”). The goal, simply put, is to have all the same aspects of a pageant wagon, without it being mobile.




Work Cited:
 Google Images Search: “bright fruit”

Soanes, Catherine, and Angus Stevenson. "Pagean Wagon." Oxford Reference Online. 2nd Rev. Ed. Oxford, United Kingdom: Oxford University Press, 2003. Web.

Fruit on the Tree of Knowledge

Video Clip:
http://www.youtube.com/watch?v=kVtS05uAtSI

Although this video clip does not depict The Fullers' Play: Adam and Eve in Eden, this is good research for how the fruit on the tree should look. The combination of colors and brightness draws attention. The goal is to make the fruit look tempting to pick. If the audience feels they would like to pick a fruit and eat it from the tree, it is the most successful the prop/set can be. Also contrasting these bright colors with the earthy tones used in the tree and the rest of the set, they stand out more drawing in attention to the fruit. Along with the videos the following pictures are good examples of luscious fruit to use as a guideline.




Work Cited:
Google Images Search: “bright fruit”

YouTube “Adam and Eve” video search from ‘ilikefredsavage’

Leaves Used to Cover Adam and Eve

The tree of knowledge should be the center piece for the set, as it is the central conflict. Although to play does not directly center around the Tree of Knowledge, it is still the pivital point of the overall story. In looking at these plays in the York Cycle, it is important to think of the entire story made up of these small plays. The initial story of Adam and Eve leads into the temptation and therefor makes the Tree of Knowledge important. This means the Tree of Knowledge should be the biggest aspect of the scenery. And if the action is played around the tree, it should be exciting to look at. Because of the symbolic nature of the leaves, they should be large fig leaves so they can later cover the private areas of both Adam and Eve. This is one of the most essential parts to the production and should reflect that in performance and presentation.


Work Cited:
Google Images Search: “adam and eve leaves”