Katherine of Sutton
Katherine of Sutton, Abbess of Barking (abbess 1358–1376), was a Catholic woman, known for her innovative techniques and creative plays that she wrote during her time at Barking Abbey.[1]
Biography
As Barking Abbey only accepted women of noble birth, it is almost certain that Katherine was born into nobility.[2] Her position as Abbess of Barking would have ranked her equivalent to a Baroness in medieval English aristocracy.[3]
Katherine held office from 1358 to 1376, during the peak of Barking Abbey’s existence. When she became the abbess of Barking Abbey in 1358, she inherited a very powerful position of authority and publicity. As the abbess, she was responsible for both the political and theological affairs of the convent. She was also responsible for the safety and well-being of all nuns in her convent, in addition to leading and planning the liturgical ceremonies. Typically in English convents, the nun of the highest ranking was considered the supreme authority and had the most responsibility. Specifically, the abbess was required to provide goods and services for royal wars, as well as housing criminals until trial.[2] In order to display her power, the abbess carried a staff similar to a bishop's crozier.[2] The most historically significant power that Katherine had as an abbess was the ability to initiate changes in the liturgical practices of the convent. This was particularly significant because although some women during this time period were able to hold power in a clerical position, a man was usually present as the overall supervisor. In the case of an abbess, there was always a bishop alongside her in office, however it is unclear as to whether or not she had to report to him before making any official changes or decisions. If any changes were made to the liturgical processes, the abbess would record them in the Ordinale, a manuscript of Barking’s customs.[1] This book was passed down to each abbess, and was only for her eyes only.
Regardless of whether or not she had to report to the Bishop of London, Katherine made several changes to the liturgical process of the convent. Under her progressive authority, Katherine incorporated performing arts into the celebration of Easter, in an effort to stimulate the audience and continue their devotion towards God.
Easter plays
Katherine is credited with the production of several mystery plays.[3] These plays were constructed to enhance the religious experience of the laity during liturgy.[3] Katherine was aware that the people attending the services were becoming increasingly more withdrawn in their devotion to the church and their faith.[3] She truly catered to the devotional needs of the public, as she incorporated both educational matter and visual elements into her plays to stimulate the interest and adoration of the people during the Easter celebrations.[4] Although these plays were not considered unique in comparison to pre-existing dramas at the time, they were different in that they engaged not only the lay people, but also the nuns in the convent. Moreover, the plays are also noted to have been very realistic and graphic, which made the experience both unique and exciting.[3] There were four plays in all: Depositio, Descensus, Elevatio, and Visitatio Sepulchri.
Depositio
The first of the four plays, Depositio, was celebrated on Good Friday. It involved the participation of priests, the abbess, as well as the convent community. The Image of Christ is taken down from the cross and his wounds are cleaned.[1] This image of washing Christ’s wounds with wine and water had not been found in other texts before, making it unique.[2] Depositio ends with the burial of the cross. Some historians claim that the burial represents a reenactment of Christ’s death in order to make the experience as realistic as possible.[1]
Descensus Christi
Descensus Christi presents the Christian them of the Harrowing of Hell: the time between Christ’s crucifixion and his resurrection on Easter Day. Christ travels through hell and opens the gates to heaven.[1] In this convent-wide ceremony, the abbess along with a few priests would go into a chapel and shut the doors, signifying the souls of the patriarchs in limbo while awaiting Christ’s descent into hell.[5] This was then followed by another priest and two deacons arriving at the door with the resurrection cross and lighted candles, representing Christ’s arrival at the gates of Hell. The doorway is finally opened when the priest sings the antiphon, Tollite portas, representing Christ’s command for Hell to open its gates.[6]
Elevatio
Elevatio includes a ritual of the cross being retrieved from its grave and delivered to the altar of the Holy Trinity.[1] The priest enters the sepulchre, or tomb, of Christ and carries out the host and the cross. This action exemplifies the resurrection of Christ.[5]
Visitatio
The three Marys, played by nuns, visit Christ’s tomb and discover that the body has vanished and they announce his resurrection to the apostles.[5]
Legacy
Katherine’s liturgical dramas were one of a kind and have been credited with setting the stage for several other dramas in later years. The theatrical literature of late medieval France, Germany and Britain displays noticeable characteristics, modeled after the plays at Barking Abbey.[4]
Katherine of Sutton is credited as "the first English Woman playwright" for her productions. What amazes historians to this day is that she provided directions in so much detail, that it is meant to be used as a rubric, creating a clear image of the play itself.[2]
Reenactments were a major component of these dramas that Katherine devised. This was significant because it made the experience very real for everyone participating.[4] Every act had historical significance, but also put both the actors and the audience in the story to experience first-hand what really happened in the event being presented.[4] This form of theatre was designed to reinforce the faith of the Catholic people, and to represent the divinity of the sacred events being portrayed.[4] It was a way for people to see what was so important about Easter, by having them experience the events that led up to the resurrection of Christ, rather than solely being read scriptures and attending lectures by a priest.[4] Katherine’s plays also demonstrated gender boundaries, or lack thereof, which we may not have expected in the Middle Ages. The Ordinale describes the nuns acting in the plays as the three Marys, and also the abbess’ impersonation of a patriarch in the Descensus Christi.[2]
It was much more common to see male actors dominating in other social aspects of society in this time-period.[3] For example, Katherine could not sit in parliament because she was a woman, yet she possessed ample power within her convent.[2] At this time, it was not common for middle-class women to write for the theatres, regardless of their talents, however noblewomen were able to accomplish this task due to their rank in society.[3]
See also
References
- ^ a b c d e f Brown, Jennifer N.; Bussell, Donna Alfano (2012). Barking Abbey and Medieval Literary Culture : Authorship and Authority in a Female Community. England: York Medieval Press.
- ^ a b c d e f g Cotton, Nancy (1978). "Katherine of Sutton: The First English Woman Playwright". Educational Theatre Journal. 30 (4): 475–481.
- ^ a b c d e f g Cotton, Nancy (1980). "Renaissance Noblewomen". Women Playwrights in England, C. 1363-1750. Lewisburg: Bucknell University Press.
- ^ a b c d e f Tydeman, William (1994). "An Introduction to Medieval English Theatre". In Beadle, Richard (ed.). The Cambridge Companion to Medieval English Theatre. Cambridge, England: Cambridge University Press.
- ^ a b c Woolf, Rosemary (1972). The English Mystery Plays. Berkeley: University of California Press.
- ^ Slocum, Kay B. Ritual and Ceremony at Barking Abbey. Columbus, Ohio: Capital University, Magistra Publications. pp. 94–110.