Broad and wide-ranging survey of and investigation into the important question of whether medieval narrative was designed for performance.

Introduction [with Nancy Freeman Regalado and Marilyn Lawrence] - Evelyn Birge VitzIntroduction [with Evelyn Birge Vitz and Marilyn Lawrence] - Nancy Freeman RegaladoIntroduction [with Evelyn Birge Vitz and Nancy Freeman Regalado] - Marilyn Lawrence`He was the best teller of tales in the world': Performing Medieval Welsh Narrative - Sioned DaviesThe Complaint of the Makers: Wynnere and Wastoure and the `Misperformance Topos' in Medieval England - Joyce ColemanDioneo's Repertory: Performance and Writing in Boccaccio's Decameron - John AhernMise en Texte as Indicator of Oral Performance in Old French Verse Narrative - Keith BusbyErotic Reading in the Middle Ages: Performance and Re-performance of Romance - Evelyn Birge VitzOral Performance of Written Narrative in the Medieval French Romance Ysaÿe le Triste - Marilyn LawrencePerforming Romance: Arthurian Interludes in Sarrasin's Le roman du Hem [1278] - Nancy Freeman RegaladoPerforming Fabliaux - Brian LevyPreaching, Storytelling, and the Performance of Short Pious Narratives - Adrian P. TudorReading, Reciting, and Performing the Renart - Kenneth VartyTurkic Bard and Medieval Entertainer: What a Living Epic Tradition Can Tell Us about Oral Performance of Narrative in the Middle Ages - Karl ReichlBeowulf, the Edda, and the Performance of Medieval Epic: Notes from the Workshop of a Reconstructed `Singer of Tales' - Benjamin BagbyThe Weddynge of Sir Gawen and Dame Ragnell: Performance and Intertextuality in Middle English Popular Romance - Linda Marie Zaerr`Une aventure vous dirai': Performing Medieval Narrative - Anne AzémaSequels [with Nancy Freeman Regalado and Marilyn Lawrence] - Evelyn Birge VitzSequels [with Evelyn Birge Vitz and Marilyn Lawrence] - Nancy Freeman RegaladoSequels [with Evelyn Birge Vitz and Nancy Freeman Regalado] - Marilyn Lawrence