This paper intends to investigate in what way the relationship between space and time testified into the “script” of the Jeu d’Adam (half of the twelfth century) is related to his biblical and homiletic sources, and in what way this dialectic (certainly perceived by the members of the audience, who knew very well the text of the Genesis) bring about a production of meanings sometimes in agreement, sometimes in conflict with the expectation of the public. This analysis is even more interesting since the text contemplates the presence of “director’s notes” aimed at its representation on the stage.