Abstract
Background. Until recently, the balance of interest in European medieval theater has tilted almost exclusively into the welltrodden paths of English texts a situation highlighted by the Conference on Medieval Drama Research at Harvard in 1986 and addressed in the special issue of Comparative Drama, Vol. 27 (Spring 1993).1 Perhaps in the past it has been the number of extant continental religious plays,2 and the size of some of them e.g., the Passion of Jean Michel (1486), written for four days' performance which has deterred critical interest. Also, the content of Michel's play and of its predecessor by Arnoul Greban3 originally attracted negative attention4 for the scurrilous behavior of some characters in the sacred context. Such crudities
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