Medieval drama based on the Bible ultimately directs its audience toward a Christian interpretation, but equally interesting, and less frequently investigated, are the plays' modes of resistance to Christian authority, that is, the variety of of ways in which the dissemination of power throughout culture may be represented in these plays before an ultimate Christian authority is finally asserted, if it is. The human body, objects, gender, politics, economics, law, and theater itself, as well as religion, are all registers in which such resistance may be enacted. A literary reading informed by the recent temporal turn in Queer Theory, as distinct from the more typical theater-history analysis, enables such an understanding of medieval drama, one that is more inclusive of a modern, secular, multicultural audience.