Carla M. Bino, Memory, community and encounter. Sacred theatre in Italy (1998-2018), in F. Colombo (Ed.), MEDIA AND COMMUNICATION IN ITALY: HISTORICAL AND THEORETICAL PERSPECTIVES, Milan 2019, pp. 149-163. (original) (raw)
Related papers
Playing with religion in contemporary theatre
Routledge eBooks, 2017
Contemporary theatre sometimes uses religious language, symbols and poses. What do these references mean? Refiection on four productions shows the usefulness of tools developed in the study of liturgy. First, this helps to produce an account ofthe roles ofthe sacred and of community in theatre shows. Secondly, this throws light on the appearance of religion in "liquid modernity. " Thirdly, the study of religion in theatre shows how boundaries between fields areßuidnot only between arts and religion, but also between the field of arts and the academic field. Both deal with the significance of religion in a world where religious traditions are questioned and used, both in and outside the religious sphere.
Theater and the Sacred in the Middle Ages
The book presents a theory of relationships between the forms of devotion and early drama genres. The historical background is the circumstances of the Church becoming independent of the Empire. A theological and philosophical aspect of the transformation of piety at the time was the specification of the ontological status of the sacred (spiritualization) and "shifting it to Heaven" (transcendentalization). In opposition to a theory of Western civilization as a process of increasing individual self-control, I argue for the need to take into account purely religious conditions (the idea of recapitulation). This allows me to develop a holistic aesthetics for the religiously inspired creativity in the period spanning the 11th—15th centuries and to propose a new typology of medieval drama.
ARYS. Antigüedad: Religiones y Sociedades, 2020
In theatre, actors often perform religious rituals on stage. In this article, we argue that in some cases, like in Plautus and Simone Weil, religious rituals are not just imitated but the specific performative structure of the ritual enhances the affective charge of the theatre play. To illustrate this technique we apply Gérard Genette’s theory of hypertextuality to develop a new concept of hyper-performativity. Consequently, we analyze Plautus’ Rudens and Simone Weil’s Venise sauvée to portray their hyper-performative techniques, in antiquity as well as in late modernity, how to write religious rituals into theatre. || En el teatro, los actores a menudo realizan rituales religiosos en el escenario. En este estudio defendemos que en algunos casos, como en Plauto y en Simone Weil, los rituales religiosos no son sólo imitados, sino que la estructura performativa específica del ritual realza la carga afectiva de la obra teatral. Para ilustrar esta técnica, aplicamos la teoría de la hipertextualidad de Gérard Genette en el desarrollo de un nuevo concepto de hiper-performatividad. Por consiguiente, analizamos el Rudens de Plauto y la Venise sauvée de Simone Weil con el fin de mostrar sus técnicas hiper-performativas para escribir rituales religiosos en el teatro, tanto en la Antigüedad como en la Modernidad tardía.
2022
What does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? Performing the Sacred: Christian Representation and the Arts explores both the meaning of re-presentation and the role of performance within the Christian tradition between arts and drama. The essays in this book demonstrate that the idea of performance was central to Christian theology and that—from the Middle Ages to the Early Modern era—it became a device through which people saw, prayed, preached, wrote, imagined, officiated rites, celebrated cults, and practiced devotions. Seen that performance is a habitus within Christianity, performing the sacred does not just mean representing it, but rather enacting it in a tangible, visible and involved way.
Congruence of rituals and theatre. The use of drama for religious ceremony
I have started this research as a response to a pejorative question that religious rituals are merely theatrical, and the personnel involved nothing else but actors; beyond this there is nothing any religion suggests, e.g. healing, divine touch, blessings et.al. This paper is about rituals and their meanings and roles played as in social drama and theatre play. Considering the relationship between ritual and theatre to be reciprocal I will use their functions to evaluate the process of religious ceremonies and the role they play for adherents/participants, as if they would be attending a play. Religious Studies and Drama joint study offers the opportunity to combine two complementary humanities subjects, as both drama and religion are mainstays of cultural practice.
Altar and stage: Liturgical drama in three theatrical traditions
2013
Theater and in this thesis. Special thanks go first to Amy Lehman, who has always been kind, considerate and supportive through this whole process. I am also grateful to all of my professors at the University of South Carolina, especially Nina Levine, Victor and Amy Holtcamp, and Robert Richmond. Your dedication and talent are an inspiration to me. Thanks also to the administration of Cardinal Newman School and in particular to Jacqualine Kasprowski for making it possible for me to pursue Theatre in both practical and scholarly ways. Finally, I thank my wife Laura for putting up with the long hours and strange schedules.