Street Scenes offers a theory of late medieval acting and
performance through a fresh and original reading of the Tretise of
Miraclis Pleyinge. The performance theory perspective employed
here, along with the examination of actor/character dialectics,
paves the way to understanding both religious theatre and the
complexity of late medieval theatricalities. Sharon Aronson-Lehavi
demonstrates the existence of a late medieval discourse about the
double appeal of theatre performance: an artistic medium enacting
sacred history while simultaneously referring to the present lives
of its creators and spectators.
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