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This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.

A performance work entry records a specific, named theatrical or ritual performance tradition built around religious subject matter, a cycle of plays, a ritual dance drama or a passion play, distinct from a single one time event in being a documented, repeatable performance tradition with its own text, staging convention and performing community. Lawrence Clopper's edition of the surviving records of the Chester mystery plays shows how much of what is known about a performance tradition's actual staging comes from civic and guild records rather than from the performed text alone.

An entry records a performance work's documented origin, who staged it and under what civic or religious sponsorship, and how its text and staging have changed across its documented history, since a performance tradition very often survives in multiple, differing versions across different periods and places rather than one fixed, original script.

Where a performance work has drawn controversy, over its content, its casting or its continued staging, an entry records that documented controversy as part of the work's own history, distinct from and alongside its religious content and its stated devotional or communal purpose.

This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.

Peter Chelkowski's study of Ta'ziyeh, the Shia Muslim passion play tradition commemorating the death of Imam Husayn, makes a point worth carrying into every performance work entry regardless of tradition: a religious performance work's form, staging convention and emotional register are shaped by the specific theological and historical event it commemorates, and cannot simply be read through a template drawn from a better documented Christian example.

Chelkowski's own account shows Ta'ziyeh developed its own distinctive conventions, a mobile staging that moves through a real crowd, a chanted rather than spoken delivery, roles performed by amateur devotees rather than professional actors, conventions a performance work entry records on the tradition's own documented terms rather than assuming they mirror European mystery play staging.

That same discipline generalizes across the type. A performance work entry describes each tradition's own staging method, its own performing community and its own documented history of change, rather than assuming every religious performance work developed the way a single, more widely studied tradition did. That comparison is offered to sharpen description, never to rank one tradition's performance work above another's on its own terms.