Literature Review: Atheism & Performance
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Because our society is mostly Christian, most of the entertainment industry caters to that idea. Theatre has made references to Christianity throughout centuries; however no one has performed atheism. To prove this notion, it is important to prove Christianity in theatre really exists to begin with.
In “The Laughing Dead and the Lively (or was it lovely?) Virgin,” the authors trace the relationships between theatre, ritual, circus and Christianity (Bosque 1). It examines the New Circus theatre in Chile. This can show how different cultures use Christianity in theatres, proving it exits to begin with. This idea offers an almost humorous look on the ritual of religion. It plays with the ideas of blurring the boundaries between life and theatre (Bosque 1).
To further prove Christianity exists in performance and theatre, we must search for the different forms that have been established. Wayang Wahyu is a Catholic form of shadow theatre (Poplawska 1). It presents a history of Christian theatre. This can further prove Christian theatre is more abundant and even exists. Marzanna Poplawska shows how the different forms of church politics are used in theatre in different cultures (Poplawska 1). This also focuses on the past decades attention to the rising appearance of religion in such forms as anthropology and ethnology. This can add to the history of religion in theatre further ignoring atheism.
Park Honan in “Theatre and Religion: Lancastrian Shakespeare/Region, Religion and Patronage: Lancastrian Shakespeare,” reviews two books comparing Shakespearian theatre to theories of religion. This could be helpful to add to the history of arising atheism and its association to theatre and performance. Shakespeare, as many like to study, uses much religious morality as he does non-religious morality. One does not need to be an atheist, theist or any deviation of belief in order to enjoy Shakespeare, however there is much religious influence upon his writings and stage practice.
Donalee Dox in, “The Eyes of the Body and the Veil of Faith,” describes how Christianity was used in ancient and ninth through twelfth century performance (Donnalee 1). At this time, Christianity was largely studied, practiced and lived by. This indicates an extreme history to the idea of Christianity and theatre. Christianity has threatened, more specifically in ancient times, the wrath of “God” would punish all who disobeyed him. Because of the fear of believers, there was never any question or free thought. Performance was a useful tool in ancient and ninth through twelfth century times. The theatre practices were commonly used as a way to enforce the Ten Commandments and ethics in the bible.
Christianity in ninth and twelfth century theatre can be helpful history in figuring out how atheism has been overlooked throughout history. Christianity in theatre, in fact, does exist and this can further suggest atheism has not really been performed, whereas religion has. Theatre at this time was used as a tool to teach. There is a larger emphasis on performance studies to educate students on the subject on religion (Gordon 1).
In the lengthy “Pilgrams Progress,” it suggests non-Christian theatre professionals are dismissive and hostile. It uses Christian Ðtheatre artists to show salvation and excellence on stage. In an atheists views, this article is completely discriminatory further adding a notion of bias toward atheism and atheism in performance. Celia Wren provides information on how the CITA organization has strove to work against anti-Christian theatre and performance. Christians, in this article, seem to be unable to understand how one can be involved in theatre and not be a Christian (Wren 1). CITA is dedicated to enhancing Christianity in theatre. According to a Christina artist, Dale Salvage, he had experienced a feeling of isolation while viewing traditional New York theatre (Wren 1). I find this quite puzzling, since all the sources so far I have examined have suggested Christianity is such a part of theatre. Even in the same article, those involved in CITA find that all theatre is Christian. The CITA organization has formed programs to do skits in churches, professional theatre companies, independent artists and Christian universities (Wren 2). This is a nightmare for atheists.
The early colonists enacted laws against theatre, because they saw it as a godless business (Wren 2). This organization wants to do these jobs to prove God does exist in theatre. An atheists point of view would be to go back to colonial times. When putting H.G. Wells novel, “The Island of Dr. Moreau” on stage, CITA made God a very relevant piece in the audiences understanding of the novel, which was clearly not the intention of a well renowned science fiction author. An important concept in the article to further add to the irony, was the idea that actors do not like boundaries included in their work, however Christianity has very clear boundaries (Wren 4).
Not only are theatre groups helping in the spread of religious awareness, but dance performance is as well. Cia Sautter in “Teaching the Dance of World Religions” she explains the past decades attention to the rising appearance of religion in such forms as anthropology and ethnology, however continues to explain that such forms of performance such as dance has left it out. Sautter sets out to teach men and women alike that religion can be embodied as well as taught in theatre. This article can further add to the abundance of religion in theatre, further ignoring atheism.
ÐAmerican Theatre offers a look at the relationship between religion and theatre. She points out the problems with the purpose of religion in theatre. This article can directly support the introduction of atheism to theatre and performance. Both theatre and religion struggle to find truth (American Theatre 2). I want to focus on this as a commonality between atheism and Christianity Ð- and yes, there is such a thing. This article especially points out the commonness between theatre and religion which, in turn, acts as a link between atheism and religion. The practices of religion and Christianity are not so far from the morals humans share. Just because someone is Catholic, does not mean he or she does not agree with an opinion with someone who is Jewish, Buddhist, etc., just as an atheist may agree with some of the morals of Christianity. With theatre acting as a linkage, humans can express their thoughts, opinions, views and morals as a common ground for those of different standpoints.
There have been several attempts to impose the ideas of free thinking, but the men and women who did so were immediately punished. In, “Sade or The First Theatre of Atheism,”