Author: jeff

Living chess.

Living Chess

At the Wyndonshire Renaissance Faire, the living chess match transforms the ancient game into a vibrant, theatrical performance that captivates audiences with its blend of strategy, drama, and historical immersion. Unlike the quiet concentration of a traditional chess game, this version bursts to life with costumed participants embodying the roles of kings, queens, knights, and pawns on a grand, open-air board set in the heart of the faire’s grounds.

The Setting:

The chessboard itself is an impressive sight, laid out in a grassy field or a cleared area within the faire, each square marked by the distinctive lines of a chess set. Each square is large enough to accommodate the human chess pieces, with the board’s design often enhancing the medieval ambiance, sometimes with flagstones or painted wood, sometimes with natural elements like flowers or herbs marking the boundaries. Around the board, spectators gather, their excitement palpable as they await the unfolding drama.

The Pieces Come to Life:

The participants, dressed in elaborate period costumes, bring the chess pieces to life. Knights wear armor or chainmail, their helmets gleaming under the sun, while pawns might be in simpler, yet still authentic, attire representing the common folk. The queen, often in a flowing gown with a crown or tiara, and the king, in regal robes, stand majestically, commanding the board. Each piece moves with a certain grace or authority, guided by the game’s rules but also by the character they portray.

The Game Unfolds:

As the game progresses, the players, who might be positioned off the board or within a designated area, communicate their moves through gestures, commands, or through a designated ‘herald’ who announces each move with flair, enhancing the theatricality. “The white knight to D4!” might be bellowed, and the knight, with a flourish, strides to the new position, perhaps accompanied by the sound of a lute or drum to mark the move.

Educational and Entertainment Value:

The living chess match at Wyndonshire serves not only as entertainment but also as an educational tool, immersing the audience in medieval history and culture. Spectators, especially younger ones, get a tactile understanding of chess strategy and medieval warfare tactics. The game becomes a centerpiece of the Renaissance Faire. This event is not merely a game; it’s a living, breathing spectacle that combines strategy, history, drama, and community in a way that captivates both players and spectators alike.

What's the matter, Scarecrow?

The Fire Vagabond

“Fire is the breath of the dragon, the whisper of the phoenix, the roar of the lion. It speaks in tongues of transformation.”
-Margaret Weiss


Ladies, gentlemen, and noble souls of all ages, gather ’round as we welcome to our stage the master of the flame, the conjurer of light, the weaver of warmth in the cool embrace of Wyndonshire’s evening—our very own fire performer, Ignis the Enchanter.

In an age where the world was lit by the glow of firelight, where stories were told around campfires under the vast tapestry of the night sky, Ignis brings forth this ancient spectacle, transforming the simple act of fire into a ballet of brilliance and danger. With each flick of his wrist, he commands the fire as if it were an extension of his very soul, weaving tales of dragons, phoenixes, and the eternal dance between light and darkness.

Ignis’s performance is not merely a display of skill; it is a journey. A journey back to when fire was a gift from the gods, a symbol of life and destruction, of passion and purification. His flames dance to the rhythm of drums, echoing the heartbeat of the earth, reminding us of our connection to the elemental forces that shape our existence.

As you watch, let the fire’s warmth embrace you, let its light guide your gaze, and let your imagination soar with the sparks that fly from Ignis’s hands. Here, in the heart of our faire, where history and fantasy merge, Ignis the Enchanter will ignite your senses, telling stories without words, using only the universal language of fire.

Prepare to be mesmerized as he spins, tosses, and breathes life into flames, each movement a calculated risk, each flame a testament to human mastery over one of nature’s most primal forces. So, hold your breath, for what you are about to witness is not just a performance; it is an invocation of ancient magic, a tribute to the fire that none shall forget!

Contact juggling.

Contact Juggling

At the Wyndonshire Renaissance Faire, an event steeped in the revelry of the past and the enchantment of the present, contact juggling emerges as a spellbinding art form that captivates audiences with its blend of subtlety and spectacle. This unique style of juggling, where objects are manipulated in constant contact with the juggler’s body, offers a mesmerizing contrast to the more traditional, fast-paced juggling acts, weaving a narrative of fluidity, control, and illusion that transports viewers to a realm where time seems to slow, and the impossible becomes tangible.

The Artistry of Contact Juggling:

Unlike conventional juggling, which relies on the dynamic exchange of objects through the air, contact juggling involves a single object—most commonly a clear acrylic ball—that the performer keeps in motion across their body. This technique allows for a display of grace and precision, where the ball appears to defy gravity, rolling over the hands, arms, and even the face in a continuous, mesmerizing flow. This form of juggling is less about speed and more about the beauty of movement, the interplay between the juggler and their prop, and the creation of visual poetry through motion.

A Historical Touch with a Modern Twist:

While contact juggling, in its modern incarnation, might not trace back to the Renaissance, its inclusion in the faire can be seen as a nod to the timeless human fascination with motion and the manipulation of physical laws. Performers might choose to dress in attire that marries elements of Renaissance fashion with modern or steampunk aesthetics, perhaps wearing a doublet with mechanical-looking buttons or a skirt with hidden pockets for their juggling props. This blend of eras not only reflects the faire’s theme of historical fantasy but also underscores the universal appeal of the art form across time.

Engagement with the Audience:

One of the most enchanting aspects of contact juggling at the faire is its ability to draw the audience into a shared experience of wonder. The juggler’s slow, deliberate movements invite spectators to come closer, to observe the subtleties of how light plays off the ball, or how the juggler’s fingers barely touch the surface yet control its path with such precision. This intimacy creates a bond between performer and audience, where reactions—be it a collective intake of breath or a round of applause—become part of the performance itself. This interaction ensures that no two shows are alike, as the energy of the crowd influences the juggler’s performance, making it a living, breathing dialogue of movement and reaction.

The Illusion of Simplicity:

What makes contact juggling particularly fascinating is its deceptive simplicity. At a glance, it might seem like a mere rolling of a ball, but the skill required to perform it flawlessly is immense. The juggler must master not just the physical technique but also the art of misdirection and the subtle manipulation of perception. This skill set allows them to create illusions, such as the ball moving through solid objects or defying the expected paths of gravity, which captivates an audience with a sense of magical realism.

The Setting and Atmosphere:

Set against the backdrop of the faire, with its medieval tents, artisan stalls, and the distant sound of lute music, contact juggling finds a perfect stage. The performer might be positioned in a quieter corner of the faire, where the ambient noise of the crowd doesn’t drown out the gentle rolling sound of the ball. This setting enhances the mystical quality of the act, allowing the audience to fully immerse themselves in the visual journey the juggler takes them on.

Conclusion:

At the Wyndonshire Renaissance Faire, contact juggling stands out as a testament to the enduring allure of performance art, blending ancient themes with contemporary skills. It’s not just a display of dexterity but a narrative of movement that speaks to the timeless human quest to understand and control the world around us, even if just for the span of a performance. In this way, contact juggling at the faire becomes more than entertainment; it’s a shared moment of wonder, a brief suspension in the flow of time, where the magic of the Renaissance era meets the artistry of today.

Press Information

For our friends in the Press:

We will soon have press releases for you. Thank you for your patience! In the meantime, have an account of an event very similar to ours:

From “Chronicles” by Jean Froissart, Book II, Chapter XXXV – The Tournament at St. Inglevert, 1390

“Then was it proclaimed that there should be held a tournament at Saint Inglevert, and there came from all parts knights and squires to show their prowess. And the place was well chosen, for it was in a good and broad plain, and there were lists made very strong and well enclosed.

There were present the lords of France, and many noble men and ladies, who came to see this great chivalry. And the market was very great; all sorts of merchants had come there, bringing with them things of every kind, both for eating and for drinking, and for clothing and for arms. The streets were full of people, some buying and selling, others showing their goods or trying to sell what they had brought.

The tournament itself was well ordered. Three knights, Sir Reginald de Roye, Sir Boucicaut, and Sir John of Holland, had challenged all comers to fight in single combat or in groups, and many did come to try their fortune. The combatants would enter the lists with great pomp, their horses caparisoned in rich trappings, and the knights in armor that gleamed under the sun.

The sound of trumpets announced each combat, and the crowd would hush as the knights charged at each other, the clash of lance against shield echoing across the field. After each bout, there was much applause from the spectators, and the knights would retire to rest, only to return for more combats.

Between the fights, there were minstrels singing, jugglers performing, and there was much dancing and merriment. The hospitality was great; food and drink flowed freely, and the tables were laden with all manner of dishes.

This gathering was not just a display of martial prowess but a social event where alliances were forged, and marriages sometimes arranged, amidst the laughter and the clink of goblets. The tournament at Saint Inglevert was remembered for years after as one of the great spectacles of chivalry and commerce combined.”

Feasting

If thou art a restaurant, chef, food truck, caterer, or other culinary adventurer, and you’d like to be part of our Faire, get in touch!


Greetings from times of yore, good folk! Let me spin ye a tale of feasting at our grand Renaissance Faire, in the manner of old.

In the shadow of castle walls and under the boughs of ancient trees, the feast doth commence. Ye’ll find no better joy than to sit at a long, oaken table, surrounded by kin and strangers alike, all bound by the love of good victuals. The air doth dance with the scent of roasted boar, the crackle and pop of the fire lending its blessing to the meat.

A trencher before ye, hearty with stew or a slice of pie, filled with meats and roots from the earth, seasoned with herbs from the garden. Bread, fresh from the oven, doth break easily in thy hands, its warmth a comfort against the chill of evening. And what of drink, ye ask? Ale, dark as the night sky, or mead, sweet with the nectar of bees, flows freely, lifting spirits and loosening tongues.

Desserts are no mere afterthought, but treasures of the table. Cakes, dense with honey and nuts, tarts bursting with the fruits of the season, all prepared as if for the king’s own feast.

Here, to feast is to celebrate life, to share in the bounty of the land, and to make merry with each other. ‘Tis not just a meal, but a merrymaking, where every bite is a story, every drink a toast to the joy of living in such grand times. Come, join in the feast, for there’s no better way to know the heart of the Faire.