From the fall of Islamic Išbīliya in 1248 to the conquest of the New World, Seville was a nexus of economic and religious power where interconfessional living among Christians, Jews, and Muslims was negotiated on public stages. From out of seemingly irreconcilable ideologies of faith, hybrid performance culture emerged in spectacles of miraculous transformation, disciplinary processionals, and representations of religious identity.
Ritual, Spectacle, and Theatre in Late Medieval Seville reinvigorates the study of medieval Iberian theatre by revealing the ways in which public expressions of devotion, penance, and power fostered cultural reciprocity, rehearsed religious difference, and ultimately helped establish Seville as the imperial centre of Christian Spain.

Christopher Swift is an Associate Professor of Theatre at the City University of New York, New York City College of Technology. He researches and teaches performance architecture, puppetry, and medieval theatre.

Introduction: Theatres of Absence
Chapter One: Theatrical Acculturation and the Andalusi Colony
Chapter Two: Penance, Conversion, and Affective Convivencia
Chapter Three: Strange Infidels in the Imperial Metropole
Conclusion: Walking Ghosts
Bibliography
Index