This book provides a detailed survey of the hundreds of non-biblical serious plays which survive from the tenth to the sixteenth centuries. The performers vary from civic groups and literary societies to courts and convents: mainly amateurs, but they left a legacy of stories that was drawn upon by the writers for the professional theatre companies of Elizabethan England, Golden Age Spain and the rich baroque theatre of France. Stories from the Golden Legend and collections of Marian miracles appear side by side with folk tales and traditional stories brought from the Middle East by merchants, pilgrims and other travellers. Muir considers what she terms the ???legacy??? of these tales: when playwrights for the new public theatres such as Shakespeare and Lope de Vega retain the situations and settings of the older stories but transform them by the emphasis on psychology and the gradual disappearance of the religious element.

Aspects of medieval theatre examined for reflection of contemporary life. The essays in this volume explore ways in which plays and public spectacles mirrored the beliefs and values of the late medieval world. Topics covered include seasonal festivals, trade gilds, stagecraft, and the role played by themunicipal governments in fostering and controlling dramatic productions. The geographic range takes in all western Europe, with particular consideration of the connections between the various medieval European dramatic traditions. Inter-disciplinary in approach, perspectives range from the history of theatre to cultural and political history and literary criticism. There is particular emphasis on the real advances that can be made in expanding knowledge of medieval theatre through research in local and regional archives. ALAN E. KNIGHT is professor emeritus of French at the Pennsylvania State University. Contributors: ALEXANDRA F. JOHNSTON, LYNETTE R. MUIR, PAMELA SHEINGORN, R.B. DOBSON, GERARD NIJSTEN, CLIFFORD DAVIDSON, WIM HUESKEN, STEPHEN SPECTOR, ALAN E. KNIGHT

This book provides a detailed survey of the hundreds of non-biblical serious plays which survive from the tenth to the sixteenth centuries. The performers vary from civic groups and literary societies to courts and convents: mainly amateurs, but they left a legacy of stories that was drawn upon by the writers for the professional theatre companies of Elizabethan England, Golden Age Spain and the rich baroque theatre of France. Stories from the Golden Legend and collections of Marian miracles appear side by side with folk tales and traditional stories brought from the Middle East by merchants, pilgrims and other travellers. Muir considers what she terms the 'legacy' of these tales: when playwrights for the public theatres such as Shakespeare and Lope de Vega retain the situations and settings of the older stories but transform them by the emphasis on psychology and the gradual disappearance of the religious element.