<P> The Quem Quaeritis? ("Whom do you seek?") segment of the Easter liturgy was an exchange of one question, one answer, and one command between the Angels at Christ's tomb and the three Marys (Virgin Mary, Mary Magdalene, and Mary, the sister of Lazarus). Yet the concept of drama cannot adequately be used to describe the Quem Queritis, since drama as a concept is not found in the medieval sources themselves; using the term drama opens up a vast field of anachronistic misunderstandings . </P> <P> The Easter Plays were the core of medieval performance within the liturgy, but there were additional forms such as saints' plays, miracle stories, legends, and apocalyptic plays . The largest part of plot material is taken from the Bible or Christian legend . </P> <P> Contrary to earlier theories tracing the development of European theatre from the Catholic liturgy, there is no logical or chronological development in the various play texts from the Middle Ages; the scope of the text, its complexity, and its dramatic structure of the many sources known today do not develop in a systematic manner . Another widespread misunderstanding of medieval performance forgets that music always played an important part in liturgical rites and plays . </P> <P> The rites in Latin were always performed in a church, in the context of a liturgical ceremony . Since they are so strongly integrated into the liturgy (Mass or Liturgy of the Hours), it is questionable whether or not they count as performance . Latin - language plays were also performed in churches without a liturgical context . Vernacular plays were most often performed in public spaces outside of the church, usually on mansion stages on the public square . Stage sets representing heaven, hell, Pontius Pilate's house or the Holy Sepulcher were erected on the stages . </P>

Why did the roman catholic church create liturgical drama