Miracle as a meaningful form of medieval theater

The essay focuses on the problem of an adequate estimation of the medieval miracle-play genre. The causes of the existing aberrations may be found in the methodological approaches, that do not comply with the very nature of the medieval phenomenon. The legitimacy of criteria typical for the Antique or Renaissance tragedy, applied in aesthetical treatises by the XVI century humanists and existing up until today, is given consideration. It is asserted that the attempts to estimate miracle-plays according to genre criteria formed in other cultures, can not be productive. Taken as an example, the analyses of Rutebeufs Le Miracle De Theophile illustrates the efficiency of new methodological principals, which allow to discover the genre as a substantial form, inwardly connected with the existential horizons of culture. The analysis utilizes an interdisciplinary approach: a combination of theatre science (revealing drama architectonics - the conflict, which displays itself trough the sequence of perepeteia of dramatic action) with philosophy of culture, based on conceptions of regional ontology. Philosophical and typological reconstructions of the historical worldview horizon of culture reveal parameters of uniqueness and integrity of medieval culture. Analysis of Rutebeufs Miracle proves that it possesses a true dramatic conflict, typical for medieval theocentrical view of the world. The reference to biographical facts of Rutebeufs life, reveals vital roots of the miracle-play. A collision evolving into a conflict (Theophile, the main character of the book, who was angered by his master's injustice, rises against him and strikes a deal with the Satan). However, the obtained spiritual and political power, together with wealth and freedom provoke an internal conflict, that deprives his soul of peace and calm. A dramatic energy emerges in the soul suffering a discord and provides action with new impulses. The character is moved by this conflict through the labyrinth of an earthly hell. But after revolting against his master and losing connection with him, Theophile is not able to forget him. Memory is unfolding as a force, which connects two states of his mind: the clarity lost in the past and the hope for a possible return. But the miracle can't occur on its own. The depth of the memory can be enlightened only through a hard work, i.e. prayer as a sublime form of labor. At a turning point, when a miracle takes place, the character embraces peace once again. By learning Rutebeufs biography, we can discover the real roots of this miracle-play: the "white" and "black" professors were involved in a bitter dispute over labor in this period. The article argues that solution of the dramatic conflict via a miracle is not artificial (deus ex machina), but is naturally intertwined into consciousness horizons of medieval culture. The essay puts forward a question about the place of miracle-play in the system of genres. It is argued, that the miracle and the genres of mystery-play, not morality play, represent most perfect forms of medieval theater and require detailed analyses

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