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We know little about the nature of medieval performance and have generally been content to think of it in relation to more modern productions, not least because of the sparsity of existing evidence. Consequently, whilst much research has been undertaken into its contexts, there has been relatively little scholarly investigation into the conditions of perfommance itself. This book seeks to address this omission. It looks at such questions as the nature of performance in theatre/dance/puppetry/automata; the performed qualities of such events; the conventions of performed work; what took place in the act of performing; and the relationships between performers and witnesses, and what conditioned them. Philip Butterworth is Visiting Research Fellow in the Institute for Medieval Studies at the University of Leeds, where he was formerly Reader in Medieval Theatre and Dean for Research; Katie Normington is Senior Vice Principal (Academic) at Royal Holloway, University of London, where she is also Professor of Drama. Contributors: Kathryn Emily Dickason, Leanne Groeneveld, Max Harris, David Klausner, Femke Kramer, Jennifer Nevile, Nerida Newbigin, Tom Pettitt, Bart Ramakers, Claire Sponsler.

Performing arts. --- Show business --- Arts --- Performance art --- Theater --- Performing arts --- Drama, Medieval. --- History --- European drama --- Medieval drama --- Plays, Medieval --- Moralities --- Mysteries and miracle-plays --- To 1500 --- Europe. --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Audience. --- Dance History. --- Dance. --- Drama. --- European Studies. --- Medieval Studies. --- Medieval drama. --- Medieval performance. --- Middle Ages. --- Performance. --- Performing Arts. --- Puppetry: Automata. --- Theatre History. --- Theatre. --- Theatrical performance. --- medieval audience.