Abstract The five farcical interludes within the Angers Résurrection (1456) feature a blindman and his guide who perform gags common to late-medieval blindman farces: vocal disguise, fear-induced defecation, and a game of broche en cul (skewer-ass). These episodes function as a comic prosthesis that articulates the interrelation of three major character groups that never interact with one another or with the farce: the Jewish council who control Jerusalem, the disciples and holy women, and a large chorus of redeemed souls. The blindman’s slapstick debasement veils the comic indestructibility that connects him to Jesus and directs thought away from the dependence of an imagined universal redemption upon the exclusion of certain individuals and groups who, at the same time, have a constitutive role in this symbolic structure.
Marla Carlson (Wed,) studied this question.