though scholars used to think that all of society revolved around the guilds, the guild structure was largely undeveloped before the Black Death (14c). Modern Marxists imagined the guilds were labor organizations, developed by the rising working class to protect their economic and political rights. More recent research suggests that the guilds were formed by the city officials in order to organize and control various conflicting business interests. They were run not by workers but by the bosses -- master guildsmen who controlled who was hired and who got training; these masters aspired to be landlords and city officials, and moved freely in these circles. For the few at the top of the guild structure, the York Play might have been part of a class struggle being waged in the city. The working class did have its own organizations, called "Fraternities." These were similar to the modern JayCees, Knights of Columbus or Shriners; they were attached to a specific parish and focusing on charity -- an enormous amount of which was needed in the days before large-scale government social programs.
To modern Christians, the term "religious theater" tends to conjure up images of terrified but cute kids wearing dishtowels on their heads at Christmas time, or silly-looking adults playing guitars and singing with puppets. Because the feast being celebrated is named for the body of Christ, the York plays emphasize the importance of that body, dwelling on its actions, its symbolic significance, and, of course, its death and resurrection. Many Protestants will be uncomfortable with the play's presentation of Christ's suffering, as well as the implied and direct significance of "the body of Christ" and its relationship to the bread and wine offered during Christian worship.
A colleague of mine recently rolled his eyes and moaned in mimicry of traditional paintings of Christ's passion, calling such images "offensive" to an Evangelical Protestant mindset. During the Reformation, all artistic reminders of the medieval church, and the p