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.