Relevant bibliographies by topics / Jesuits theater

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  2. Dissertations / Theses
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Academic literature on the topic 'Jesuits theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Jesuits theater"

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Brockey, Liam. "Jesuit Pastoral Theater on an Urban Stage: Lisbon, 1588-1593." Journal of Early Modern History 9, no. 1 (2005): 3–50. http://dx.doi.org/10.1163/1570065054300239.

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AbstractIn the late sixteenth century, the Society of Jesus became one of the most influential religious groups in Catholic Europe and beyond. Yet specifically how the meteoric rise of the Jesuits occurred has remained an enigma, especially in light of the entrenched complex of interests that comprised contemporary society. Based on manuscript correspondence and other under-exploited archival material, this article analyzes the actions of senior members of this religious order in the city of Lisbon in late 1580s and early 1590s in order to show how the Society gained its prestige through a host of pastoral activities directed at a variety of audiences. By avoiding a focus on colleges or missions, this study offers a new perspective on the Jesuits' attempts to win their place among ecclesiastical elites, as well as the respect of both nobles and plebeians in one of the largest and most ethnically diverse cities in Europe.
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Haskell, Yasmin. "The Vineyard of Verse." Journal of Jesuit Studies 1, no. 1 (2014): 26–46. http://dx.doi.org/10.1163/22141332-00101003.

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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres and regions are well studied (drama in the German-speaking lands), others less so. There is a general scarcity of bilingual editions and commentaries of many “classic” Jesuit authors which would, in the first instance, bring them to the attention of mainstream modern philologists and literary historians, and, in the longer term, provide a firmer basis for more synoptic and synthetic studies of Jesuit intertextuality and style(s). Along with the interest and value of this poetry as world literature, I suspect that the extent to which the Jesuits’ Latin labors in the vineyard of the classroom formed the hearts and minds of their pupils, including those who went on to become Jesuits, is underestimated.
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Graczyk, Waldemar. "Okoliczności powstania oraz przejawy działalności religijnej i kulturowej jezuitów w Płocku w XVII i XVIII wieku." Biuletyn Historii Wychowania, no. 31 (March 1, 2019): 51–83. http://dx.doi.org/10.14746/bhw.2014.31.4.

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The goal of this article is to present the circumstances accompanying the establishment of the Jesuit collegium in Płock. The author analyses the economic, political and cultural bases of the foundation as well as the role played in this venture by bishops Andrzej Noskowski and Marcin Szyszkowski. Finally, in 1616 the Jesuit foundation in Płock was approved by the Polish Parliament. The article includes a description of the working methods employed by the Jesuit teachers, the curricula, as well as the extra-curricular forms of affecting the local community of the Jesuit Society Collegium – the Sodality of Our Lady and other organized and informal religious societies. What is more, the Jesuits working in Płock were involved in propagating the Catholic faith. The author also discusses the importance of the school theatre in introducing the models of raising children promoted by Jesuits.
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Cavallaro, Daniela. "Go and Sin No More: The Afterlife as Moral Teaching in Italian Catholic Educational Theatre." Religions 10, no. 9 (September 6, 2019): 517. http://dx.doi.org/10.3390/rel10090517.

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Catholic religious orders that have education as part of their mission have often used visions of the afterlife in theatre productions as vehicles to transmit a message of conversion, especially to those who, because of age or illiteracy, would not benefit as much from Scripture readings or complex sermons. In this article, I look at how such visions of the blessed and the damned, of heaven and hell, of angels and demons, were used in educational theatre in Italy by the Jesuits in the 16th century and the Salesian sisters in the 20th century. The historical background for the Jesuit and Salesian plays I analyze also reveals a propagandistic layer of meaning in their representation of the afterworld, as the Jesuits’ tragedies date to the years of the Counter-reformation, while the Salesian sisters’ plays belong to era of the cold war. Thus, the Jesuit and Salesian theatrical depictions of heaven and hell provide insight not only into the religious understanding of the eras, but also into the social and political concerns of the times in which they were composed, as well as the diverse educational messages transmitted to young men and young women.
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Muneroni, Stefano. "Jesuit History, Theatre, and Spirituality." Religion and the Arts 23, no. 3 (June 10, 2019): 273–92. http://dx.doi.org/10.1163/15685292-02303004.

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Abstract The 2014 staging and publication of Jonathan Moore’s play Inigo offers a unique commentary on the relationship between acting and spirituality within the Society of Jesus, the official name of the Jesuit Order. Through a close analysis of Moore’s play, this article contends that Jesuit spirituality draws on performative skills to inspire exemplary behavior and foster an embodied and long-lasting response to devotional narratives. In probing post-secular readings of hagiographical drama, the author considers the reasons for the ongoing fascination exerted by saints as stage characters in contemporary plays and argues that the success of Inigo is due to its humanistic reconfiguration of the notions of sanctity, faith, and redemption, as well as to its understanding of sainthood as the result of answering a religious and artistic vocation.
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Horn, Andrew. "Andrea Pozzo and the Jesuit “Theatres” of the Seventeenth Century." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 213–48. http://dx.doi.org/10.1163/22141332-00602003.

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Considered within the context of Jesuit theatre and liturgy, and within the broader culture of spectacle and ritual in the era of Counter-Reform, the works of art and architecture commissioned by the Jesuits in the seventeenth century can be read as “theatres” of religious performance. This concept is given an ideal case study in the work of Jesuit artist Andrea Pozzo (1642–1709). In this essay I present Pozzo’s work within the context of ritual and prayer for which it was produced, focusing on two of his religious scenographies and two of his lesser-known painting projects. As I consider their use of allegory, emblems and symbols, visual narratives, spatial illusions, and architecture, I argue that both the scenographies and the permanent church decorations achieve persuasion through the engagement of the observer as a performer in a ritual involving both internal and external performance.
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Páez Álvarez, Sandra. "La Iglesia de San Ignacio de Santafé de Bogotá: Una puesta en escena para la educación de los sentidos (siglos XVII y XVIII)." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 12, no. 1 (January 10, 2015): 58. http://dx.doi.org/10.26564/16926250.536.

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ResumenDurante los siglos XVII y XVIII, el primer templo jesuita que hubo en Santafé de Bogotá, el de San Ignacio, fue mucho más que un lugar de culto al que los fieles asistían para tomar parte en los distintos oficios religiosos; fue un verdadero centro de formación para los miembros de los diferentes estamentos de la sociedad que hacían parte de sus congregaciones. Para “seducir” a la población santafereña, atraerla a la iglesia y posteriormente intentar reformar sus costumbres, fue necesario mucho ingenio, paciencia y creatividad por parte de los jesuitas que adelantaron esta tarea, y no la habrían podido llevar a cabo sin la ayuda del arte en sus distintas manifestaciones. La formación recibida por los miembros de las congregaciones pertenecientes a la iglesia de San Ignacio no se basó en el aprendizaje de conceptos abstractos, sino que fue una educación práctica apoyada en imágenes e historias ejemplares, y, por eso mismo, amena y accesible a todos sin importar su nivel social y cultural. No fue una educación dirigida a la parte racional, sino a la sensibilidad, y con ella no se buscó tanto instruir como formar.Palabras clave: Compañía de Jesús, cofradías, congregaciones, Iglesia de San Ignacio, arte, arquitectura, religión, santoral, historias ejemplares, teatro, sentidos, ejercicios espirituales.********************************************************************The San Ignacio´s Church: A performance for the education of senses (17th and 18th centuries)AbstractDuring the 17th and 18th centuries, the first Jesuitical temple in Santafé de Bogotá was the San Ignacios´s one. It was a true educational center more than cultic place and it attracted people of all social classes, assembled in religious congregations. To “seduce” and it attract them, it was necessary to have a huge amount of genius, patience and creativity. To accomplish their educational task, the members of the Society of Jesus found assistance in fine arts manifestations. Their instruction, in conformity with the baroque spirit, did not have a conceptual basis, but a practical one. It reached people of all conditions and cultural background images and exemplary stories. Its goal was to educatemore than to instruct, and it was oriented more to the sensibility than to the reason.Key words: Society of Jesus, Baroque, Saint Ignacio Church, congregations, brotherhoods, art, architecture, religion, exemplary stories, theatre, spiritual exercises, sensibility.********************************************************************A igreja de São Ignácio de Santa Fé de Bogotá: Uma encenação para a educação dos sentidos (século XVII e XVIII)ResumoDurante os séculos XVII e XVIII, o primeiro templo jesuíta que existiu em Santa fé de Bogotá, o de São Ignácio, foi muito mais do que um lugar de culto em que os fiéis iam para tomar parte nos distintos ofícios religiosos; foi um verdadeiro centro de formação para os membros dos diferentes grupos da sociedade que faziam parte de suas congregações. Para “seduzir” à população de Santa Fé, atraí-la para a igreja e posteriormente tentar reformar seus costumes, foi necessário muita inventiva, paciência e criatividade por parte dos jesuítas que realizaram essa tarefa, e não poderiam tê-la levado a cabo sem a ajuda da arte em suas diferentes manifestações. A formação recebida pelos membros das congregações pertencentes à igreja de São Ignácio não se baseou na aprendizagem de conceitos abstratos, mas foi uma educação prática apoiada em imagens e histórias exemplares, e, por isso mesmo, amena e acessível a todos sem importar seu nível social e cultural. Não foi uma educação dirigida à parte racional, mas à sensibilidade, e com ela não se buscou tanto instruir como formar.Palavras chave: Companhia de Jesus, Cofrádias, congregações, Igreja de Santo Ignácio, arte, arquitetura, religião, santoral, histórias exemplares, teatro, sentidos, exercícios espirituais.
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Niedźwiedź, Jakub. "Jesuit Education in the Polish-Lithuanian Commonwealth (1565–1773)." Journal of Jesuit Studies 5, no. 3 (March 26, 2018): 441–55. http://dx.doi.org/10.1163/22141332-00503006.

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This article examines the impact of the Jesuit educational system on the culture of the multi-religious and multi-ethnic federation, through four problems. The first part of the paper presents the beginnings and development of the educational network and the Jesuit monopoly of education in the country. In the second part, it is shown how the Ratio studiorum was adapted to local conditions and how Latin culture was promoted in the Orthodox provinces of eastern Poland and Lithuania. One of the major consequences of these processes was the unification of a literary language and literature in Polish (Polish became the second language of Latinitas). The third part raises the question of the impact of rhetorical studies on political activity of the gentry, through the formation of the citizen-orator ideal. The development of literature, theatre, music, and the sciences forms the subject of the fourth part, which also lists the main achievements of Jesuit scholars and alumni. In conclusion, some observations are offered on the specific nature of Jesuit education in this part of Europe and its legacy after the dissolution of the Society of Jesus.
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Hagens, Jan L. "SPIELEN UND ZUSCHAUEN IN JAKOB BIDERMANNS PHILEMON MARTYR." Daphnis 29, no. 1-2 (March 30, 2000): 103–57. http://dx.doi.org/10.1163/18796583-90000703.

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Jacob Bidermann's (1578-1639) Jesuit drama, Philemon Martyr (1618), presents the world as a theater, not only within its plot, but also through structural and stylistic features. Ironically, precisely because of his dubious profession, the pagan comedian Philemon, as he plays a Christian, is granted , and grasps, the chance to convert. Though his perfect model may inspire the audience, Philemon can effect the play's moral only in tandem with Arrianus, his antagonist, who turns from pagan spectator to Christian actor: it is Arrianus' more realistic role conversion which assures the spectator that salvation is actually within reach. Through the ideas of play-acting and play-watching, Bidermann illustrates the Jesuit view, not only of secular theater and society, but also of religion, human nature, and our appropriate role in life. Going beyond a scena vitae, which would merely focus on human performance, the play constructs a more complex theatrum mundi, which includes divine director and spectator. In terms of dramatic genre, Bidermann advocates tragicomedy , in terms of attitude, a contemptus mundi. As school theater, Philemon Martyr provides an antidote to the rigid Jesuit conception of education, activating the students through a playful version of pedagogy.
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Oldani, Louis J., and Victor R. Yanitelli. "Jesuit Theater in Italy: Its Entrances and Exit." Italica 76, no. 1 (1999): 18. http://dx.doi.org/10.2307/479800.

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Dissertations / Theses on the topic "Jesuits theater"

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Roche, Christopher Marlowe. "Jesuitical Communal Mission since 1540 and its links to Contemporary Jesuit Theatre." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341593529.

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Hernandes, Paulo Romualdo. "Meraviglia o teatro de Jose de Anchieta." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252981.

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Orientador: Joaquim Brasil Fontes
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-07T05:24:34Z (GMT). No. of bitstreams: 1 Hernandes_PauloRomualdo_D.pdf: 6172974 bytes, checksum: 6c762e66f6847a01e1a2559c18284cb4 (MD5) Previous issue date: 2006
Resumo: O teatro Meraviglia de José de Anchieta, representação religiosa do Brasil do século XVI, é estudado nessa tese em seus aspectos estéticos e ideológicos. Esteticamente, a meravigliosa dialética jesuítica coloca em cena, em cada canto e recanto da mata atlântica, aspectos do teatro popular, o uso do espaço cotidiano dos espectadores, a fala em sua língua, o escracho com seus costumes, os mimos, jeitos e trejeitos das personagens do Mal em contradição com a seriedade das personagens do Bem, dos anjos e santos. Em cena, como síntese, uma representação ao mesmo tempo religiosa e popular, sagrada e profana com aspectos cômicos e sérios, personagens divinas contracenando com personagens de carne e osso (caraíbas amigos dos padres, índios cristianizados, velhas índias, morubixabas, rudes colonos, mestiços...). Ideologicamente inspirado nos Exercícios Espirituais de Inácio de Loyola, o mentor e fundador da Companhia de Jesus, Anchieta cria um teatro a serviço da Igreja para convocar os moradores do Brasil para a luta contra a bandeira do Mal, Satanás, Lúcifer, Lutero, Calvino, os caraíbas e pajés - a Babilônia, e, principalmente, a dramática luta do espírito para vencer os desejos da carne e do coração. Neste jogo, a representação oculta nas sombras das alegorias, a verdadeira razão de ser dessa luta: trazer as almas dos índios, dos colonos, dos meninos dos colégios para a Igreja Católica, para a Companhia de Jesus. No tablado a vitória é do Bem, dos jesuítas, versus o Mal, a religião antiga, as idéias peregrinas... Em outras palavras, Loyola e depois Anchieta, forjado pelos Exercícios, desenvolvem um instrumento poderoso, a representação, para ensinar o caminho para as almas peregrinas brasileiras encontrarem a verdadeira vida, a eterna, na Jerusalém Celeste, na Cidade de Deus
Abstract: The Meraviglia theater of Jose de Anchieta, religious representation of Brazil's XVI century is studied in this thesis in its aesthetic and ideological aspects. Aesthetically, the ¿meravigliosa¿ Jesuitical dialectics places in scene, in each single and hiding place of the Atlantic forest, aspects of the popular theater, the use of the daily space of the spectators, words in its own language, the mockery with their customary behaviors, the mimes, skills and grimaces of the characters of the Evil in contradiction to the seriousness of the characters of the Good, angels and saints. In scene, as synthesis, a representation, at the same time religious and popular, sacred and profane with comic and serious aspects, divine characters acting together with characters of flesh and bone (¿caraíbas¿ friends of the priests, old native women, ¿morubixabas¿, rude tenant farmers, ¿mestizos¿..). Ideologically inspired by the Spiritual Exercises of Ignacio de Loyola, the mentor and founder of the Company of Jesus, Anchieta creates a theater to the service of the church to convoke the inhabitants of Brazil to the fight against the flag of the Evil, Satan, Lucifer, Lutero, Calvin, ¿caraíbas¿ and shamans- the Babylonia, and, mainly, the dramatically fight of the spirit to win the desires of flesh and heart. In this game, the occult representation in the shades of the allegories is the true reason of this fight: to bring the souls of the natives, the tenant farmers, the boys of schools, for the Catholic Church and the Company of Jesus. In stage, the victory is of the Good, of the Jesuits, versus the Evil, the old religion, the wandering ideas¿. In other words, Loyola and later Anchieta, forged by the Exercises, develop a powerful instrument, the representation, to teach for Brazilian wandering souls the way of true life, the perpetual one, in the Celestial Jerusalém, the City of God
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Henderlight, Justin. "Marc-Antoine Charpentier's David et Jonathas : French Jesuit theater and the tragédie en musique." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62134.

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Marc-Antoine Charpentier composed David et Jonathas (1688) for a performance at the Jesuit Collège de Clermont in Paris. The work is described in contemporary sources as a tragédie en musique, though the latter term was usually reserved for works that had been composed for the stage of the Académie Royale de Musique. Some scholars have questioned the validity of the label tragédie en musique for this work on the grounds that it lacks certain features common to the genre: the amount of recitative, dance, and references to the supernatural are proportionately low compared to other works titled tragédie en musique. What is more, the work was originally intended to be performed interwoven with a separate spoken play, titled Saül. Saül and David et Jonathas are dramatically self-contained, but they were meant to be performed together, thus conflating the genres of tragédie en musique and intermède. In fact, the work’s biblical story also raises issues of genre, given that, up to 1688, all works labeled tragédie en musique featured a secular story. This thesis aims to show how this work mixes the traits of several genres both as a result of its Jesuit performance context and its composer’s priorities and past experiences writing music for the stage. Through an analysis of the political, aesthetic, musical, and dramatic features of the work, I reveal how the opera shows some indebtedness to the tragédies en musique that preceded it. Elements that point to this work’s status as a generic hybrid are also brought to the fore, following modern theories of genre that allow for works to participate in several genres without the stipulation to place it into any single category.
Arts, Faculty of
Music, School of
Graduate
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Lewis, Anna Christina Kohler. "WWJD /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2433.pdf.

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Krump, Sandra. "In scenam datus est cum plausu : das Theater der Jesuiten in Passau (1612-1773) /." Berlin : Weidler, 2000. http://catalogue.bnf.fr/ark:/12148/cb414688956.

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Dyer, Elizabeth Anne. "The emergence of the independent prologue and chorus in Jesuit school theatre c.1550-c.1700, derived from a comparative analysis of Benedictine, Augustinian and Jesuit school theatre, lay youth confraternity theatre and the oratorio vespertina of the Congregation of the Oratory." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1517/.

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An examination of the developments in Benedictine, Augustinian and Jesuit school theatre during the sixteenth and seventeenth centuries reveals the Jesuits as leaders in both dramatic and musical innovations. The emergence of seventeenth-century Jesuit theatre innovations in eighteenth-century Benedictine and Augustinian school theatrical productions validates this conclusion and reveals a conduit of influence not previously articulated. While previous comparisons of Jesuit theatre main title dramas and Oratorian oratorios do not reveal a relationship, a comparative examination of the musical prologues and choruses performed within Jesuit theatrical productions and the musical works performed in the services of the Congregation of the Oratory over the period c.1550-c.1660 shows a parallel progression of development; the development of the oratorio in the oratories of the Congregation is a further demonstration of Jesuit influence during this time period. The friendship of Ignatius Loyola and Filippo Neri matured into a close relationship between the musical activities of the Society of Jesus and the Congregation of the Oratory during the sixteenth and early seventeenth centuries. The simultaneous development of the Jesuit school theatre independent prologue and chorus and the Congregation of the Oratory oratorio is one of the results of this relationship. The sacred musical works in Jesuit school theatrical productions and the services of the Congregation follow the same pathway of development and exhibit equivalent characteristics. A formal declaration restricting performance language in the Oratorian services caused the two repertoires to diverge c.1620-c.1630. A comparison of independent Jesuit theatre prologues and choruses and the oratorios performed during the services of the Congregation of the Oratory c.1640-c.1660 reveals that these two bodies of work are distinguishable from each other only by the language of the text.
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Horn, Andrew. "Ritual, scenography and illusion : Andrea Pozzo and the religious theatre of the seventeenth century." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23561.

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In this PhD thesis I offer an examination of the work of Jesuit Andrea Pozzo (1642-1709), an artist known primarily for his works of perspectival fresco painting. Pozzo's development, his career and his multifaceted practice––which included painting, scenography, architecture, and a two-volume treatise on perspective–– together serve as a prime case study for understanding the relationship of the religious art and architecture of the seventeenth century to the period's culture of ritual and performance. Pozzo's work, I argue, is religious theatre, and the key to reading both his ephemeral scenographies and the permanent works of painting and architecture lies in religious performance. Each of the works, I contend, functions as a work of religious theatre: architectural space, images, narrative, illusion and light are used to communicate messages, to engage the senses and the intellect, to activate the memory and the imagination, and to directly involve the spectator both internally and externally as a performer. In my first two chapters I present an analysis of the environment in which Pozzo emerged, beginning with the religious, intellectual and visual culture of the Jesuits, before turning to the religious theatre of Northern Italy. Here I concentrate on the Counter-Reform culture of religious spectacle, before arriving at Pozzo’s first recorded scenographies. In addition to their ritual function, I demonstrate how these works establish many of the recurring visual themes and techniques we see across Pozzo's work. In the third chapter I study Pozzo's earliest surviving major painting commission: the church of San Francesco Saverio at Mondovì. I present the church as a teatro sacro—a permanent ritual scenography of architecture and painting which evokes the elaborate ritual processions of the time. My fourth chapter focuses on the ephemeral scenographic works of Pozzo’s Roman period. Pozzo’s innovations in scenography and perspectival illusionism in Rome quickly establish his reputation and lead to the major commissions in the church of Sant'Ignazio, which I discuss with several major Roman works in my final chapter. The examination of the Roman projects returns us to the central theme of my thesis: art and architecture as theatre; both a setting for religious ritual and a means of persuasion through intellectual and spiritual engagement of the observer in a ritual performance. In order to pursue this line of argument I have consulted a wide array of sources and secondary literature across a number of fields. Important primary sources studied include Pozzo's two-volume treatise, Perspectiva Pictorum et Architectorum (1693,1700), Jesuit documents and archived correspondence, eighteenth-century biographies of Pozzo, prints and commemorative publications of festivals, works of classical authors, and theological writings of major figures in the seventeenth century. This project embraces a wide range of topics including painting, perspective, architecture, illusion, theatre and scenography, ritual and spectacle, theology, philosophy, early modern science, Counter-Reform religious culture, and Jesuit history.
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Reinhardt, David Lee. "Theatrical living : responsive lives which manifest God's loving presence and ways." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16579.

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God is revealed through Scripture and the Incarnation as desiring to establish loving relationships with others beyond the Trinity. In the beginning he did so by creating human beings, and making himself, his desires, and his ways known to them. He chose to do so through particular actions and encounters in history which involved various forms of embodied manifestation, and led up to the supreme manifestation: the enfleshing of Jesus. Following on from the acts of Jesus which perfectly manifested God and his ways to the world in the flesh, human creatures created in the image of God and united to Christ are also called and gifted by God to manifest God's presence, activity, and ways in this world by using their bodies to live faithfully and responsively to the leading of the Spirit. In order to investigate and demonstrate these claims, Part I of the thesis examines a selection of precedent-setting events chronicled in the Old Testament in which God manifested his presence and ways to people in a variety of circumstances. Part II is concerned with a theological examination of God's manifestations and the roles people can and should play in these manifestations. It begins by engaging with reflections on the subject from the early church fathers Irenaeus, Athanasius, and Augustine; and, in keeping with the Reformed approach taken in the thesis generally, this is followed by in-depth treatments of Reformer John Calvin and Reformed theologian Karl Barth on the revelation, manifestation, and proclamation of God by people in this world. Having substantiated the claim that how people live is significant and of concern to God as it can impinge upon his ongoing desire to make himself and his ways known, Part III is designed to provide a fuller understanding of some of the meaning and significance conveyed by bodily expressions in human interactions with an eye towards seeking ways to live more faithfully to God. It identifies the theatre, particularly improvisational theatre, as a laboratory for understanding human living, and so explores the insights of theatre practitioners into everyday living; while also considering the work of philosophers of language and sociologists who do the same. Through this spotlight on the theatricality of life the case is made for attempting to live responsively, in keeping with improvisational actors, in ways that are faithful to God and which can serve to aid those united to Christ as they seek to make God known to others.
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Dutt, Hephzibah D. "The Grotesque Cross: The Performative Grotesquerie of the Crucifixion of Jesus." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429141591.

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Omata, Rappo Hitomi. "Des Indes lointaines aux scènes des collèges : les reflets des martyrs de la mission japonaise en Europe (XVIe - XVIIIe siècle)." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE5009.

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Cette thèse analyse la réception en Europe des évènements survenus au Japon pendant la période de mission, à l’époque moderne. Le discours diffusé dans le monde occidental avait commencé par un certain triomphalisme, incarné par les chrétiens japonais arrivés à Rome en 1585. Or, quand les autorités locales ont proscrit et poursuivi la nouvelle religion, il a évolué vers une rhétorique centrée sur la notion de « martyr ». Par la suite, cette idée a été activement utilisée pour présenter l’expérience chrétienne japonaise dans l’Europe moderne, et son emploi était intimement lié à la pensée politique et religieuse de l’époque. Les martyrs du Japon ont en outre donné lieu, en 1627, à la première béatification de saints issus des « Indes ». Cet évènement, tant pour l’Église, que pour les empires coloniaux ibériques, n’a été rendu possible qu’à travers l’intégration du Japon dans une vision du monde où ses dirigeants persécuteurs sont considérés comme des tyrans, et non pas comme de simples sauvages. La transmission de ces conceptions dans le Vieux Continent a également pris des formes concrètes, avec les tableaux, sculptures et gravures, ou encore la littérature et le théâtre. Dans les pièces jésuites, l’Archipel devient en effet un thème d’un genre destiné à l’édification publique. Tout cela a contribué à créer un Japon imaginaire, qui s’est par la suite largement imposé dans les esprits. Cette thèse montre que les martyrs japonais ne peuvent être circonscrits à l’histoire de l’Église ou des ordres missionnaires, mais qu’ils ont contribué à la construction de la culture européenne, en particulier dans sa perception de sa place dans le monde
This thesis analyzes the reception of the Japanese mission in Europe, from the 16th to the 18th century. The discourse diffused in Europe started with a certain triumphalism, embodied by the Japanese Christians sent to Rome in 1585. However, when the local authorities began to prosecute and ban the new religion, it evolved to an imagery centered on the concept of “martyr". After that, this notion has been actively used to relate the Japanese Christian experience in modern Europe, and it was intimately linked to the religious and political thought of the time. The martyrs of Japan also gave, in 1627, the first beatification of saints from the “Indies”. This exceptional event, for both the Catholic church and the Iberian colonial empires, was only made possible by the integration of Japan in a determined word-view, where its leaders were regarded as tyrants, and not as uncivilized savages. The concrete transmission of such conceptions in the Old Continent was conducted by various means, such as paintings, sculptures and engravings, or literature, and theater. In the Jesuit plays, the Japanese martyrs became a topic in a literary genre essentially designed for public edification. All of this gave birth to an imaginary Japan that subsequently established itself in the minds of the time. Overall, this thesis shows that Japanese martyrs cannot simply be confined to the history of the Church or missionary orders. They have contributed significantly to the construction of European culture, particularly in its perception of its place in the world
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Books on the topic "Jesuits theater"

1

MacDonnell, Joseph. Companions of Jesuits: A tradition of collaboration. Fairfield, CT: Humanities Institute, Fairfield University, 1995.

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El edificio de letras: Jesuitas, educación y sociedad en el Perú colonial. Lima, Perú: Universidad del Pacífico, 2014.

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La scena evangelizzatrice: Il teatro dei missionari nelle colonie spagnole del Centro e Sud America. Bari: Edizioni di Pagina, 2015.

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In scenam datus est cum plausu: Das Theater der Jesuiten in Passau (1612-1773). Berlin: Weidler, 2000.

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Rela, Walter. El teatro jesuítico en Brasil, Paraguay, Argentina: Siglos XVI-XVIII. 2nd ed. Montevideo, Uruguay: Universidad Católica del Uruguay, 1990.

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Okon, Jan. Na scenach jezuickich w dawnej Polsce: (rodzimosc i europejskosc). Warszawa: Wydawnictwo "DiG", 2006.

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Rela, Walter. El teatro jesuítico en Brasil, Paraguay, Argentina: Siglos XVI-XVIII. Montevideo, Uruguay: Universidad Católica del Uruguay, 1988.

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Okoń, Jan. Na scenach jezuickich w dawnej Polsce: (rodzinność i europejskość. Warszawa: Wydawn. DiG, 2006.

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Fra le invenzioni della scena gesuitica: Pedagogia e debordamento. Roma: Bulzoni, 2008.

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Asenjo, Julio Alonso. Teatro colegial colonial de jesuitas de México a Chile. Valencia: Universitat de València, 2012.

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Book chapters on the topic "Jesuits theater"

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Vuelta García, Salomé. "El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena." In Studi e saggi, 399–420. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.24.

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This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
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Zampelli, Michael, and S. J. "25. ‘Lascivi Spettacoli’: Jesuits and Theatre (from the Underside)." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy, 550–72. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-033.

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Zanlonghi, Giovanna. "24. The Jesuit Stage and Theatre in Milan during the Eighteenth Century." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy, 530–49. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-032.

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Filippi, Bruna. "23. The Orator’s Performance: Gesture, Word, and Image in Theatre at the Collegio Romano." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy, 512–29. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-031.

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Daddario, Will. "The Enscenement of Self and the Jesuit Teatro del Mondo." In Baroque, Venice, Theatre, Philosophy, 159–202. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_6.

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Daddario, Will. "Jesuit Pastoral Theatre: The Case of Father Pietro Leon da Valcamonica." In Baroque, Venice, Theatre, Philosophy, 79–107. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_4.

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Hillman, Jennifer. "Internal Theater and Emotional Scripts in French Jesuit Meditative Literature." In Affective and Emotional Economies in Medieval and Early Modern Europe, 143–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60669-9_8.

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Wirthensohn, Simon. "The Impact of the Jesuit Stage on Other Theatre Forms in Tyrol." In Neo-Latin contexts in Croatia and Tyrol: challenges, prospects, case studies, 123–38. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205204701.123.

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Vescovo, Piermario. "«A quei tempi». Spagnolismo e teatro all’italiana. Miti e stereotipi." In Studi e saggi, 421–34. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.25.

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The contribution concerns the relationship between Pietro Napoli Signorelli, his Storia critica de’ teatri antichi e moderni (Critical history of ancient and modern theaters), and the defense of Spanish literature by the Jesuit Francisco Saverio Lampillas, and the answer in Critical essay which Pietro Napoli Signorelli published in 1783. An Italian who spent a large period of his life in Spain and a Spaniard who lives and writes in Italy offer an observation point of extraordinary importance, almost a cross-reflection of the ideas and clichés of "Spanishism" and "Italianism” that had dominated the 18th Century. The critique of "Spanishism" and the long distance from the siglo de oro, from the triumph of metaphor and irregularity, in relation to the critique of what begins to be called the "commedia dell'arte", shows, at the turn of the century, just beyond the defense of the respective traditions and the positions of the two contenders, a change taking place of great depth that is announced on the European cultural scene, transforming the horizons of controversy into renewed myths.
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"Theatre in the Jesuit Schools." In Jesuits and the Politics of Religious Pluralism in Eighteenth-Century Transylvania, 143–56. Routledge, 2017. http://dx.doi.org/10.4324/9781315251530-13.

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