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Books on the topic 'Jesuits theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

Masen, Jakob. The Jesuit theater of Jacob Masen: Three plays in translation with an introduction. New York: P. Lang, 1987.

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12

Prado, Décio de Almeida. O teatro como instrumento de catequese. São Paulo: Memorial da América Latina, 2006.

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13

Il teatro degli argomenti: Gli scenari seicenteschi del teatro gesuitico romano : catalogo analitico. Roma: Institutum historicum S.I., 2001.

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14

Melo, António Maria Martins. Teatro jesuítico em Portugal no século XVI: A tragicomédia Iosephus do Pe. Luís da Cruz, S.J. [Lisboa]: Fundação Calouste Gulbenkian, 2004.

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15

Takenaka, Masahiro. Jesuit plays on Japan and English recusancy: An essay. Tokyo, Japan: Renaissance Institute, Sophia University, 1995.

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16

John, Ramm, Kelly Jude, and Hough Julian, eds. The National Theatre of Brent presents The Messiah. London: Nick Hern Books, 2001.

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17

1560-1609, Cigorondo Juan, ed. Tragedia intitulada oçio de Juan Cigorondo y teatro de colegio novohispano del siglo XVI. México, D.F: El Colegio de México, 2006.

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18

Asenjo, Julio Alonso. Tragedia intitulada oçio de Juan Cigorondo y teatro de colegio novohispano del siglo XVI. México, D.F: El Colegio de México, 2006.

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19

Stork, Sieglind. Das Theater der Jesuiten in Münster (1588-1773): Mit Editionen des "Petrus Telonarius" von 1604 und der "Coena magna" von 1632. Münster: Aschendorff Verlag, 2013.

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20

Terpsichore at Louis-le-Grand: Baroque dance on a Jesuit stage in Paris. Saint Louis: Institute of Jesuit Sources, 1996.

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21

Münch-Kienast, Barbara. Philothea von Johannes Paullin: Das Jesuitendrama und die Geistlichen Übungen des Ignatius von Loyola. Aachen: Shaker Verlag, 2000.

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22

Ignacio, Arellano, ed. San Francisco Javier, El sol en oriente: Comedia jesuítica. Madrid: Iberoamericana, 2006.

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23

Kadulska, Irena. Komedia w polskim teatrze jezuickim XVIII wieku. Wrocław: Zakład Narodowy im. Ossolińskich, 1993.

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24

Königshof, Kaspar. Zur Geschichte des geistlichen Theaters in der Stadt Erfurt und ihrer Umgebung: Geschrieben anlässlich der 1250-Jahrfeier der Stadt Erfurt im Jahre 1992. Leipzig: Benno-Verlag, 1992.

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25

(Firm), Bernard Quaritch. The Society of Jesus: America, art, bookkeeping, catechism, China, controversies, doctrine, economics, education, emblems, horticulture, India, Japan, martyrs, missions, poetry, rites, science, spiritual exercises (1548), suppression (1773), theatre, travels. [London]: Bernard Quaritch, 1996.

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26

Valentin, Jean Marie. Theatrum catholicum: Les jésuites et la scène en Allemagne au XVIe et au XVIIe siècles = die Jesuiten und die Bühne im Deutschland des 16.-17. Jahrhunderts. Nancy: Presses universitaires de Nancy, 1990.

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27

Strappini, Lucia. La tragedia del buffone: Percorsi del comico e del tragico nel teatro del XVII secolo. Roma: Bulzoni, 2003.

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28

Valentin, Jean-Marie. L'école, la ville, la cour: Pratiques sociales, enjeux poétologiques et répertoires du théâtre dans l'empire au XVIIe siècle. Paris: Klincksieck, 2004.

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29

Mick, Inkpen, ed. The nativity play. Boston: Little, Brown, 1985.

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30

Tangvald, Christine Harder. Hey, Mr. Angel! St. Louis: CPH, 1998.

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31

István, Kilián. A piarista dráma és színjáték a XVII - XVIII. században: Iskolai színjátékaink témarendje egy reprezentatív jezsuita minta és a teljes piarista felmérés alapján. Budapest: Universitas, 2002.

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32

Curry, Rick. Life's bread. Santa Clara, CA: Santa Clara University, Dept. of Religious Studies, 2001.

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33

Wetmore, Kevin J. Jesuit Theater and Drama. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935420.013.55.

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The historic Jesuit theater represents two centuries of didactic theater in which the Society of Jesus, following both the organizational instructions andSpiritual Exercisesof founder Ignatius of Loyola, used theater to inculcate virtue in both performer and audience member while teaching Latin, dance, poise, rhetoric, oratory, and confidence to the students who performed. Jesuit spirituality is inherently theatrical, and conversely Jesuit theater was intended to also be highly spiritual. The dramaturgy and scenography was spectacular and designed to draw audiences who would delight in them and learn the moral lessons the Jesuits hoped to teach while simultaneously drawing them away from a corrupt public theater. This essay considers Jesuit drama and theater in four key aspects: (1) Jesuit spirituality and performative practice; (2) the historic Jesuit educational theater of early modern Europe; (3) Jesuit drama in the missions outside of Europe; and (4) contemporary Jesuits involved in theater.

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34

Adrian, Hsia, and Wimmer Ruprecht, eds. Mission und Theater: Japan und China auf den Bühnen der Gesellschaft Jesu. Regensburg: Schnell + Steiner, 2005.

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35

Fulop-Miller, Rene. The Jesuit Theater. Kessinger Publishing, LLC, 2006.

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36

Éva, Knapp, Kilián István, and Bardi Terézia, eds. The Sopron Collection of Jesuit stage designs. Budapest: Enciclopédia Pub. House, 1999.

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37

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Court theater. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0010.

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This chapter focuses on the creation of court theater under the reign of Tsar Aleksei. It looks at the forms of dramatic entertainment and considers some of the better-known repertory pieces. The creation of a theatrical vocabulary and stagecraft was a challenge that the Muscovite court met through the participation of a small and influential group of well-educated churchmen, including Polotsky, Rogovsky, and Prokopovich. Jesuit school theater, allegorical plots, and Biblical speeches were different ways of conveying messages sanctioned by the church and the tsar about moral behavior, conduct codes that prose tales more usually subverted. These modest steps toward creating a court theater fitted well into the assimilation of baroque techniques that featured stunning effect in poetry.

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38

Jesuit Theater Englished: 5 Tragedies of Joseph Simons (Ser. 1 No. 7). Institute of Jesuit Sources, 1989.

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39

A Jesuit Off-Broadway: Behind the Scenes with Faith, Doubt, Forgiveness, and More. Loyola Press, 2011.

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40

Tjoelker, Nienke. Andreas Friz's Letter on Tragedies: An Eighteenth-Century Jesuit Contribution to Theatre Poetics. BRILL, 2014.

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41

Irena, Kadulska, ed. Teatr jezuicki XVIII i XIX wieku w Polsce: Z antologią dramatu. Gdańsk: Wydawn. Uniwersytetu Gdańskiego, 1997.

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42

I gesuiti e i primordi del teatro barocco in Europa: Convegno di studi, Roma 26-29 ottobre 1994, Anagni 30 ottobre 1994. Roma: Centro studi sul teatro medioevale e rinascimentale, 1995.

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43

Teatri Di Formazione: Actio, Parola E Immagine Nella Scena Gesuitica del SEI-Settecento a Milano. V&p Universita, 2002.

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44

Glavich, Mary Kathleen. Gospel Theater for the Whole Community. Twenty-Third Publications, 2006.

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45

Johnson, Jake. Mormons, Musical Theater, and Belonging in America. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.001.0001.

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American musical theater is often dismissed as frivolous or kitschy entertainment. But what if musicals actually mattered a great deal? What if perhaps the most innocuous musical genre in America actually defined the practices of Mormonism--America’s fastest-growing religion? Mormons, Musical Theater, and Belonging in America is an interdisciplinary study of voice, popular music, and American religion that analyzes the unexpected yet dynamic relationship between two of America’s most iconic institutions, Mormonism and American musical theater. This book argues that Mormonism and early American musical theater were cut from the same ideological cloth--formed in the early nineteenth century out of Jacksonian principles of self-fashioning, white supremacy, and broader understandings of the democratic principles of vicariousness. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common ideological platform, using musicals not only to practice a theology of voice but also to transition from outlier polygamist sect to become by the mid-twentieth century emblems of white, middle-class respectability in America. In an effort to become gods themselves, Mormons use the musical stage to practice transforming into someone they are not, modeling closely the theatrical qualities of Jesus and other spiritual leaders in Mormon mythology. Thus, learning to vicariously voice another person on the musical stage actually draws the faithful closer to godliness. Looking outward from the shared ideological roots of Mormonism and musical theater, this book offers a compelling study of how the ways Americans sound determine the paths of their belonging.

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46

Dressing Up Sticker Book Nativity Play. Usborne Publishing Ltd, 2013.

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47

The Jesuit Theater of Jacob Masen: Three Plays in Translation With an Introduction (American University Studies, Series XVII : Classical Languages a). Peter Lang Pub Inc, 1988.

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48

Budasz, Rogério. Opera in the Tropics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.001.0001.

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This book is an exploration of the musico-theatrical practices in Brazil from the Jesuit morality plays of the sixteenth century to the Italian operas celebrating the new independent nation in the 1820s, as expressed by the creative minds and bodies of actors, singers, poets, and composers. The book shows how the threefold goal of instructing, entertaining, and distracting the population—which a Brazilian producer spelled out in 1825—had been present in diverse combinations since the early colonial period, at the hands of missionaries, intellectuals, bureaucrats, political leaders, and cultural producers. The six chapters approach these issues from different perspectives, while offering a comprehensive view of the multiple aspects of musico-dramatic production in Portuguese America. Individual chapters discuss the foundations of Brazilian musical theater in the appropriation and adaptation of Iberian autos and comédias, the creation of a distinctive type of Portuguese comic opera by a Brazilian playwright during the early eighteenth century, the extant musical sources, and the sociopolitical context that determined the opening of dozens of opera houses during the second half of the eighteenth century. While showing a remarkable continuity between theatrical practices in Portugal and those in its largest colony, through the circulation of artists and repertory, this book also demonstrates notable differences in the ethnic and gender profile of theatrical workers; in the modifications determined by local tastes, priorities, and materials; and in the political use of theater as an ideological and civilizing tool.

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49

Chandler, David. Andrew Lloyd Webber. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.23.

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Andrew Lloyd Webber (b. 1948) and his Really Useful Group (founded 1977) have dominated British musical theatre since the 1970s, especially between 1981 and 2002. This critical survey of Lloyd Webber’s career discusses his self-understanding as a theatre composer; his development of an individual style in the late 1960s; his breakthrough success with Jesus Christ Superstar (1970) and the significance of what the lyricist Tim Rice calls its ‘operatic form’; the continued artistic and commercial development of the composer’s career through Evita (1976), Cats (1981), Starlight Express (1984), and The Phantom of the Opera (1986); and his subsequent failure to produce further musicals of comparable popularity. The Phantom of the Opera is identified as the most personal of Lloyd Webber’s major successes and his obsessive, revisionary investment in Gaston Leroux’s novel is analysed with reference to both the 1986 musical and its badly misjudged sequel, Love Never Dies (2010).

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50

McDannell, Colleen. Mormons and Materialism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798071.003.0007.

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By consistently conflating spirit and matter, the Church of Jesus Christ of Latter-day Saints has steadfastly resisted secularization theory’s prediction of the inevitable decline and marginalization of religion. This chapter argues that successful use of material and popular culture by Mormons in the USA and Great Britain has enabled its expansion. I maintain that Mormonism is a ‘material Christianity’, demonstrated by the Book of Mormon’s embodied Jesus and the 1847 establishment of a religious community in Utah. Latter-day Saints now run church museums and historic sites, put on musical pageants, and produce film sagas—all intended to inspire the faithful and proselytize to the rest. Successful church public relations campaigns dovetail with secular depictions of Mormons in film, on television, and in Broadway and West End theatre. The church’s foray into popular culture is funded partially through for-profit companies that creatively combine the business world with the world of faith.

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