The Medieval Fortunes of ‘Theatrica’
Early in the twelfth century, Hugh of St. Victor in his Didascalicon divided philosophical knowledge into four areas: theoretical, practical (i.e., moral), mechanical, and logical. He further divided mechanical knowledge into seven arts, parallel to the liberal arts, giving last place to theatrica,...
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| Format: | Electronic Article |
| Language: | English |
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Cambridge University Press
1986
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| In: |
Traditio
Year: 1986, Volume: 42, Pages: 265-286 |
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| 520 | |a Early in the twelfth century, Hugh of St. Victor in his Didascalicon divided philosophical knowledge into four areas: theoretical, practical (i.e., moral), mechanical, and logical. He further divided mechanical knowledge into seven arts, parallel to the liberal arts, giving last place to theatrica, which he defined briefly as ‘scientia ludorum.’ It proved to be the most controversial of his seven categories. Some twenty years ago W. Tatarkiewicz studied Hugh's idea, its sources, and its appearance in a few subsequent texts from the Middle Ages and Renaissance; later Nancy Howe added a reference from Petrarch. Since then, the concept of theatrics has seldom been treated in itself, although we now have substantially more evidence of its pervasiveness in medieval thinking, as a result of further scholarship on the Didascalicon and on the history of the mechanical arts. Drawing on these sources and on previously unreported material, this study attempts to describe in some detail the progress of theatrica during roughly the first three hundred years after its appearance in the works of Hugh. The medieval history of this idea does not tell us much about the theater, but it does tell us quite a lot about medieval attitudes toward play, entertainment, and performance, topics that learned circles did not often discuss extensively or dispassionately. | ||
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