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Journal articles on the topic 'Jesuits theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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11

McNamee, Maurice B. "Jesuit Theatre Englished: Five Tragedies of Joseph Simon." Manuscripta 35, no. 3 (November 1991): 244–45. http://dx.doi.org/10.1484/j.mss.3.1386.

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12

Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.

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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, provided further opportunities for the college's Catholics to consider transcontinental religious politics.

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13

Puchner, Walter. "Jesuit Theatre on the Islands of the Aegean Sea." Journal of Modern Greek Studies 21, no. 2 (2003): 207–22. http://dx.doi.org/10.1353/mgs.2003.0018.

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14

Astier, Régine. "Dance and the Jesuit Theatre of the Ancien Régime." Dance Chronicle 21, no. 2 (January 1998): 299–301. http://dx.doi.org/10.1080/01472529808569313.

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15

Devlin, Eugene J. "The Imperial Play as Final Chapter in the Jesuit Theater in Austria." Comparative Drama 23, no. 2 (1989): 141–55. http://dx.doi.org/10.1353/cdr.1989.0029.

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16

Daddario, William. "Parable to Paradigm to Ideology: Thinking through (the Jesuit) Theatre." Journal of Dramatic Theory and Criticism 25, no. 1 (2010): 29–40. http://dx.doi.org/10.1353/dtc.2010.0012.

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17

Brucker, Nicolas. "La querelle du luxe sur les planches: Le Dissipateur de du Rivet." Romanica Wratislaviensia 67 (July 23, 2020): 53–64. http://dx.doi.org/10.19195/0557-2665.67.4.

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The French Jesuit theatre, which during the 18th century gradually opened to comedy and French-language performances, reflects social news. First performed in May 1746 at the Collège Louis-le-Grand, Le Dissipateur takes place in a luxury debate which runs from Mandeville to Mirabeau throughout the century. This comedy defends the middle ground and invites actors and spectators to settle their expenses on their social condition. It thus accomplishes its educational aim, in accordance with the spirit of Jesuit pedagogy, which consists in preparing pupils to live in society, to know its rules, so as never to be the victims of it.

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18

Fleming, John. "Honduras's Teatro La Fragua: The Many Faces of Political Theatre." TDR/The Drama Review 46, no. 2 (June 2002): 47–65. http://dx.doi.org/10.1162/105420402320980505.

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From 1979 to the present day, this theatre, founded by an American Jesuit, has been a very strong liberatory force in a Honduras that remains a neo-feudal society. La Fragua bases its work on what its director Jack Warner avows are the four needs of human beings: food, shelter, prayer, and art.

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19

Mariani, Andrea. "The contribution of the Society of Jesus to the political culture of Lithuanian elites." Open Political Science 2, no. 1 (December 31, 2019): 153–73. http://dx.doi.org/10.1515/openps-2019-0015.

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AbstractThe paper deals with the role played by the Jesuit in the political formation of the Lithuanian elite during the seventeenth and eighteenth centuries. The author analyzes the influence of the Jesuit school system on the political culture of the nobility through rhetoric, theatre and public examinations. In particular, it shows the elements of continuity, such as the unquestioned value of classical literature and Humanistic formation. These contributed to shape the political ethos of Polish-Lithuanian elites, based on consensus and active participation in public life. The changes introduced as a result of the reform of Jesuit school system did not alter the traditional understanding of education, but rather answered to the need for better qualified civil servants in an age of modernization of the Polish-Lithuanian state.

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20

Dyer, Elizabeth. "Re-constructing Jesuit Theatre for the Modern Stage: Daphnis, Pastorale, an Eighteenth-Century Jesuit College Music-Drama." Journal of the Alamire Foundation 5, no. 2 (September 2013): 263–98. http://dx.doi.org/10.1484/j.jaf.1.103496.

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21

Hoyt, Giles R., and Michael C. Halbig. "The Jesuit Theater of Jacob Masen. Three Plays in Translation with an Introduction." German Quarterly 62, no. 2 (1989): 257. http://dx.doi.org/10.2307/407389.

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22

Olsen, Solveig, and Michael C. Halbig. "The Jesuit Theater of Jacob Masen: Three Plays in Translation with an Introduction." German Studies Review 14, no. 1 (February 1991): 151. http://dx.doi.org/10.2307/1430174.

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23

Kazragytė, Vida. "The Subject of Theatre in the Lithuanian School: Relationships within the General Educational Cultural Context." Pedagogika 111, no. 2 (September 10, 2013): 195–202. http://dx.doi.org/10.15823/p.2013.1805.

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The article investigates the rather new educational phenomenon – about twenty years ago under the impact of educational reform the theatre subject teaching was introduced. In many neighbor’s countries there is no such separate theatre subject still yet. The focus of the article is on the relationships between the curricula of theatre subject (2008, 2001) and the practice of long-lived non-formal education of children and youth of Lithuania. The curricula of theatre subject were prepared according to comprehensive discipline-arts education conception formed in United States of Amerika. Taking into account the notion of M. Lukšienė, that experience of other cultures, as well as the educational innovations must be adopted according to “own cultural model”, the attention is paid to analysis how curricula of theatre subject are grounded on traditions of Lithuanian non-formal education, especially its artistic trend. The self-expression paradigm or psychological trend of theatre education is less evident in our context. The roots of artistic trend are in Jesuit’s school theatre that existed in Lithuania 1570–1843. The artistic trend was recreated at the end of 20th century in non-formal theatre education in Lithuania by relaying on the professional theatre pedagogy (the training of professional theatre pedagogues started, the first books of methodology of theatre education appeared). Analysis showed that common concepts, as “theatre” and “education through theatre” are those which relate artistic trend of non-formal theatre education with curricula of theatre subject, accordingly, which are grounded on discipline-based art education conception. Especially that is clear from the revealing of content of “education through theatre” concept and explaining its formative and cognitive impacts on children and youth who are acting the roles created by dramaturge. The biggest challenge related with coming of theatre subject as separate, is the creating of theatre knowledge appropriated for school children. Now the theatre subject curricula describe the knowledge which are known in professional theatre pedagogy and in artistic trend of non-formal theatre education, but only in part. Thy must be expanded by new knowledge which will be get by way of externalization from direct practice. Also, there is a need of artistic orientation of theatre didactics – that can guarantee the succession of the best traditions of Lithuanian‘s theatre education and encourage their development.

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24

Jeż, Tomasz. "Between liturgy and theatre : the Jesuit Lenten meditations from the Baroque Silesia." Musicologica Brunensia 49, no. 1 (2014): 261–73. http://dx.doi.org/10.5817/mb2014-1-16.

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25

Sava, Laura. "The Problem of Film Theatre Intermediality in Jesus of Montreal." Excursions Journal 1, no. 1 (September 12, 2019): 102–22. http://dx.doi.org/10.20919/exs.1.2010.130.

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My paper resorts to the recently theorized notion of intermediality in order to examine the representation of theatre in Jesus of Montreal (Denys Arcand, 1989) Far from being a stopgap term called into being by the ever more numerous instances of border violation between media, intermediality comes with a prestigious pedigree. It is a member of the ‘inter’ family (alongside terms such as intertextuality and interdisciplinarity) and a descendant of a comparative approach which extends far back in time, encompassing genres such as the apology and the paragone. Despite the fact that in film studies intermediality is still to a certain extent impending, it is highly applicable to instances where film quotes or references another medium. A focus on intermediality in Jesus of Montreal authorizes questions such as: Which are the prioritized connection points between film and theatre? How is the relation of the two media formulated by Arcand? How does a filmmaker stage a theatrical event for a cinema audience? My paper seeks to demonstrate and exemplify the sophisticated nature of the film’s involvement with theatre. To this effect, I shall use ideas drawn from intermediality studies, narratology and drama theory in conjunction with close analysis of chosen sequences.

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26

Hudon, William V., and Michael C. Halbig. "The Jesuit Theatre of Jacob Masen: Three Plays in Translation with an Introduction." Sixteenth Century Journal 20, no. 2 (1989): 344. http://dx.doi.org/10.2307/2540698.

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27

Skrine, Peter, and Sandra Krump. "In scenam datus est cum plausu: Das Theater der Jesuiten in Passau (1612-1775)." Modern Language Review 98, no. 4 (October 2003): 1035. http://dx.doi.org/10.2307/3738014.

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28

Bailey, Gauvin Alexander. "The Lahore Mirat Al-Quds and the Impact of Jesuit Theatre on Mughal Painting." South Asian Studies 13, no. 1 (January 1997): 31–44. http://dx.doi.org/10.1080/02666030.1997.9628523.

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29

Grayson, Brandan. "Miguel Venegas and the Earliest Jesuit Theater: Choruses for Tragedies in Sixteenth-Century Europe. Margarida Miranda. Jesuit Studies: Modernity through the Prism of Jesuit History 23. Leiden: Brill, 2019. xvi + 240 pp. €106." Renaissance Quarterly 74, no. 1 (2021): 346–47. http://dx.doi.org/10.1017/rqx.2020.394.

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30

Haskell, Yasmin. "Miguel Venegas and the Earliest Jesuit Theater: Choruses for Tragedies in Sixteenth-Century Europe, written by Margarida Miranda." Journal of Jesuit Studies 7, no. 3 (April 11, 2020): 501–4. http://dx.doi.org/10.1163/22141332-00703008-09.

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31

Campana, Andrea. "Miguel Venegas and the Earliest Jesuit Theater: Choruses for Tragedies in Sixteenth‐Century Europe. By MargaridaMiranda. Pp. xvi, 240, Brill, Jesuit Studies, Vol. 23, 2019, $127/€106." Heythrop Journal 61, no. 3 (April 24, 2020): 527. http://dx.doi.org/10.1111/heyj.13517.

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32

Barbosa, Manuel José de Sousa. "Recensão a MIRANDA, Margarida, Miguel Venegas and the Earliest Jesuit Theater: Choruses for Tragedies in Sixteenth-Century, Leiden – Boston, Brill, 2019 (Jesuit Studies: Modernity through the prism of Jesuit History, volume 23), XVI + 240 pp." Humanitas, no. 76 (December 10, 2020): 192–96. http://dx.doi.org/10.14195/2183-1718_76_15.

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33

Okoń, Jan. "Jan Okoń, "Upbringing to Society in Jesuit School Theaters in the Polish-Lithuanian Commonwealth", Cracow 2018." Colloquia Theologica Ottoniana 1 (2019): 223–25. http://dx.doi.org/10.18276/cto.2019.1-12.

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34

Puchowska, Małgorzata. "Blaski i cienie życia w internatach szkół jezuickich w II Rzeczypospolitej." Biuletyn Historii Wychowania, no. 28 (January 1, 2019): 53–64. http://dx.doi.org/10.14746/bhw.2012.28.4.

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Jesuit boarding schools did not fulfil only social roles. They were educational institutions shaping discipline, morality and religiousness of their pupils. The monks organized various activities for their students which were conducive for acquiring and consolidating knowledge. Students’ time was filled with the review of school material, literary exercises, debates or production of theatre performances. The offer depended on the degree of exclusivity of a given establishment. In the Second Republic of Poland, there functioned three Jesuit schools for laymen: in Khyriv (Pol. Chyrów), Vilnius and Gdynia. Only the first two ran boarding schools. Both boarding schools offered very good living conditions, and the life of the alumni passed according to a similar, clearly defined day rhythm. The institutions in busy urban Vilnius and peripheral Khyriv were very much different. The educational process used for the boarding students from Vilnius lacked special rigours, which was different from the methods generally accepted at that time. The behaviours of boarding students from Khyriv, in turn, were regulated in the minutest detail by Statutes and regulations and the system of punishments was very elaborate. The schools tried to restore order by the method of overcoming the resistance of the more independently feeling and thinking pupils.

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35

Scuderi, Antonio. "The Gospel According to Dario Fo." New Theatre Quarterly 28, no. 4 (November 2012): 334–42. http://dx.doi.org/10.1017/s0266464x12000632.

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For over half a century the Italian Nobel playwright and performer Dario Fo (b. 1926) developed a theatre that challenged the authority of hegemonic culture, while promoting the validity and dignity of folk and popular cultures. In his satire of the Catholic Church, Fo presents the paternalistic God the Father as an instrument of suppression, while showing Jesus as being closer to the hearts of the folk. His references to apocryphal gospels – the gospels of early Christianity that were rejected by the Roman Church – play into this schema. In two of his plays, First Miracle of the Christ Child (from Tale of a Tiger and Other Stories) and Johan Padan Discovers America, Fo borrows elements from various apocryphal texts as a basis to underscore his father/son dichotomy, and to contest hegemonic dominance. At the same time, he presents a human Jesus who is more akin to the Jesus of certain apocrypha than to official gospels. Antonio Scuderi is Professor of Italian at Truman State University in Missouri, where he founded the Italian programme. His interdisciplinary articles on Italian performance traditions have been published in leading journals of theatre, folklore and literary studies, and in essays for books. He is the author of Dario Fo and Popular Performance (Legas, 1998) and co-editor of Dario Fo: Stage, Text, and Tradition (Southern Illinois UP, 2000). His latest book, Dario Fo: Framing, Festival, and the Folkloric Imagination (Lexington Books, 2011), examines the influence of concepts derived from folk culture, anthropology, and Gramscian Marxism on the development of Fo's theatrical praxis.

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Goatman, Paul. "Exemplary Deterrent or Theatre of Martyrdom?: John Ogilvie’s Execution and the Community of Glasgow." Journal of Jesuit Studies 7, no. 1 (January 7, 2020): 47–66. http://dx.doi.org/10.1163/22141332-00701004.

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John Ogilvie’s martyrdom in February 1615 should be seen in the context of a struggle for the hearts and minds of the people of Scotland between the Jesuit mission and James vi and i’s government. Nowhere was this struggle more intense than within the town of Glasgow, where Ogilvie was imprisoned, tried and executed and which a large and influential Catholic community had long called home. Propaganda was disseminated by both sides during and after his trial and the archbishop of Glasgow, John Spottiswood, orchestrated its proceedings as a demonstration of royal and archiepiscopal power that involved local elites as well as central government officials. This article examines the events that took place in Glasgow during the winter of 1614–15 and provides a prosopographical analysis of the people involved. It makes the argument that, as had been the case during the Protestant Reformation of the 1540s and 1550s, Scotland’s church and state mishandled Ogilvie’s public ritual execution such that the local religious minority (now Catholics) became emboldened and more committed to Counter-Reformation.

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Dodwell, Martin. "Revisiting Anne Line: Who Was She and Where Did She Come From?" Recusant History 31, no. 3 (May 2013): 375–89. http://dx.doi.org/10.1017/s0034193200013819.

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Anne Line ran a safe-house for Catholic priests in London during the 1590s, a time when such activities were a capital offence. She worked closely with two of the most hunted priests in England, the Jesuit superior Henry Garnet and his fellow Jesuit John Gerard, and was arrested and executed in February 1601. Although seemingly little known, it has been suggested that Shakespeare alludes to her in several works implying that the impact of her life and death on her contemporaries may have been underestimated. This fresh look at the documentary evidence seeks to clarify Anne Line's identity and the circumstances of her life up to the exile of her husband in 1586. Findings include; strong support for the suggestion that Anne Line was indeed the ‘Alice Higham’ who married Roger Line in 1583, the likely location of her childhood home near Maldon in Essex, connections to recusant networks through an aunt also called ‘Anne Line’, and evidence, previously overlooked, that Anne Line was closely related to Giles Aleyn, a Puritan landowner whose demands for increased rent from James Burbage for the site of his theatre in Shoreditch led to the founding of The Globe in Southwark.‘I sent my fellow-prisoner with John Lillie to my house, where Mistress Line, that saintly widow, was in charge’ (John Gerard, Autobiography, p. 137)

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Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.

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One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.

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Gossett, Suzanne. "William H. McCabe, S.J. An Introduction to the Jesuit Theater. Ed. Louis J. Oldani, S.J. St. Louis: The Institute of Jesuit Sources, 1983. 2 pls. +xix + 346 pp. $23; pap. $19." Renaissance Quarterly 38, no. 1 (1985): 160–64. http://dx.doi.org/10.2307/2861352.

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Smith, Constance. "William H. McCabe, S.J. An Introduction to the Jesuit Theater. Edited by Louis J. Oldani, S.J. St Louis, Missouri : The Institute of Jesuit Sources, 1983. XIV, 346 pp. ; $ 23 cloth, $ 19 paper." Moreana 22 (Number 87-8, no. 3-4 (November 1985): 51–52. http://dx.doi.org/10.3366/more.1985.22.3-4.16.

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Zampelli, Michael A. "Andreas Friz’s Letter on Tragedies (c1741–1744): An Eighteenth -Century Jesuit Contribution to Theatre Poetics, written by Nienke Tjoelker." Journal of Jesuit Studies 3, no. 1 (January 5, 2016): 154–56. http://dx.doi.org/10.1163/22141332-00301005-23.

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Haskell, Yasmin. "Andreas Friz’s Letter on Tragedies (ca. 1741–1744): An Eighteenth-Century Jesuit Contribution to Theatre Poetics by Nienke Tjoelker." Parergon 33, no. 1 (2016): 251–53. http://dx.doi.org/10.1353/pgn.2016.0045.

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Mihoc, Alina. "La Nativité dans La Passion d’Arras d’Eustache Marcadé : mise en scène et mise en image au XVe siècle." Revista Cercurilor studenţeşti ale Departamentului de Limba şi Literatura Franceză, no. 9 (November 2020): 15–24. http://dx.doi.org/10.31178/rcsdllf.9.2.

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The Arras Mystery Play, a play in verse structured in 4 days, presents, through the death and resurrection of Jesus, the essence of christianity to the audience whom it intends to instruct. Written before 1414 by the ecclesiastical Eustache Marcadé, the text is kept in one of the most important illuminated manuscripts of the Medieval European theatre, used for silent devotion. One of the play’s central episodes is the Nativity of Christ, event that is staged through text and image montage. The presence of the two midwives in the stable of Bethlehem, apparently useless because Mary didn’t need help to gave birth to her child, is essential in the text. The extraordinary birth of Jesus is emphasized thanks to Salomée’s disbelief: she didn’t believe in the miracle of Mary’s virginity. Her doubt reinforces the truth of this mystery and it presents itself like a reception lesson: the good manners of believing and seeing the Incarnation mystery are revealed to the readers.

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Graham-Jones, Jean. "“The Truth Is . . . My Soul Is with You”: Documenting a Tale of Two Evitas." Theatre Survey 46, no. 1 (May 2005): 67–78. http://dx.doi.org/10.1017/s0040557405000050.

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One evening in 1973, or so the story goes, Tim Rice caught the last part of a BBC program about Eva Perón on his car radio. Intrigued enough to make a point of tuning into a later rebroadcast, he became fascinated with this woman, whose single saving grace—he later stated—was that “she had style, in spades.” In late 1976, after more than two years spent researching, writing, composing, and recording (and one or two trips to Buenos Aires), Rice and Andrew Lloyd Webber released the studio album of Evita, their rock-opera follow-up to the hugely successful Jesus Christ Superstar. They would not work together again until they reunited to create the song “You Must Love Me” for the 1997 film version of Evita. The original staging of Evita, under Harold Prince's direction, premiered on 21 June 1978 in London's Prince Edward Theatre. The U.S. premiere came barely eleven months later, on 8 May 1979 in Los Angeles's Dorothy Chandler Pavilion. In December 1980, the Spanish-language version (translated and adapted by Jaime Azpilicueta and Ignacio Artime) opened at Madrid's Monumental Theatre. Although director Azpilicueta did not stray far from the original staging, except for a few “Argentinizing” modifications, on 26 June 1981 Prince premiered his own staging of the Azpilicueta—Artime translation in Mexico City.

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Bagdasarova, Anna A. "A man in a digital age: Digital world interpreted in J. Campos García’s theatre." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 118–27. http://dx.doi.org/10.18522/2415-8852-2020-1-118-127.

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The article conceptualizes the problem of the place and the role of technology in the life of humanity and its significance in today’s society. The analysis is based on the plays written in the 2000’s by Jesus Campos Garcia, one of the most beloved modern Spanish playwrights. Campos Garcia’s theatre is always closely linked to relevant socio-cultural problems and represents the playwright’s comprehensive introspection towards how specific the influence of modern technology – primarily digital technology – on modern life is; his self-consciousness. An exemplary work in this respect is his existential drama “Naufragar en Internet” (1999) followed by Campos Garcia’s essay “La tecnología como metáfora” (2004), in which, early into the era of active computerization he addresses the questions of the correlation between the real and the virtual; the influence of technology on everyday life and the opening up of possibilities; the existential fears and aspirations of humanity – the fear of non-existence, thirst for immortality, etc. – reflected in modern technology. The present topic is further developed in the playwright’s later works (“d.juan@simetrico.es” 2008; “...y la casa crecía”, 2016).

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Draper, Jonathan A. "The ‘Theatre of Performance’ and ‘The Living Word’ of Jesus in the Farewell Discourse(s) in John's Gospel." Journal of Early Christian History 4, no. 1 (January 2014): 26–43. http://dx.doi.org/10.1080/2222582x.2014.11877292.

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Cho, Hyowon. "Vergangene Vergängnis: Für eine Philologie des Stattdessen." arcadia 52, no. 1 (May 24, 2017): 74–94. http://dx.doi.org/10.1515/arcadia-2017-0005.

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AbstractBetween Erich Auerbach and Walter Benjamin, there existed a remarkable friendship, which on the one hand manifested itself as an unobtrusive disputation, and yet which on the other hand could be considered an unintended collaboration toward an old-new ideal of philology. Auerbach claims that with the Divine Comedy of Dante Alighieri, Western European literature reached the climax of the figuralism that Auerbach, if belatedly, wants to bring to the fore. Benjamin, in contrast, finds energy for the revolution in the surrealistic love that traces back not to Dante, but to the Provençal poetry which Auerbach regards merely as preliminary to Danteʼs literary achievement. In his The Origin of German Tragic Drama, Benjamin highlights the concept of creatureliness, whose significance for his philosophy of history is no less than that of justice. Auerbach, for his part, does not find its expression in the Germany of the 17th century, but in the France of the 16th century, namely in the work of Michel de Montaigne. However, Montaigneʼs creatureliness is rooted in sermo humilis, which is best embodied in the story of Peter who denied his Lord Jesus Christ three times. By contrast, German creatureliness detects its dissolution in the idea of natural theatre that Benjamin locates in the work of Franz Kafka. Sermo humilis is the perfection of figuralism, whereas the idea of natural theatre means reversal of allegory. The perfected figuralism and the reversed allegory cooperate in the idea of the philology of instead (Philologie des Stattdessen), whose task it is to make bygone the futility of worldly things.

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Kuznetsova, Olga A. "HELLMOUTH IN THE JAWS OF CERBERUS. IN RUSSIA IN THE SECOND HALF OF THE 17TH AND BEGINNING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 65–75. http://dx.doi.org/10.28995/2686-7249-2021-4-65-75.

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The paper is focused on the adaptation of the image of Cerberus in Russian culture of the Middle Ages and the Early Modern Times. Fragmentary information about some characters of the Greco-Roman mythology penetrated into Russian medieval literature from the Byzantine. Christians often borrowed and reinterpreted those images in the traditions of Christian symbolism. One of these characters, Cerberus, the dog of Hades, became an infernal character: a guard or a demon of the Christian Hell. As a dog it turned into an Evil animal, executioner of sinners. Аs a three-headed creature it resembled dragons and other legendary monsters. Perhaps, the story about Hercules, who tamed Cerberus, became the basis of novel in the Sinai Patericon (story about Saint John Kolobos and graveyard hyena). At the beginning of the 18th century Russia experienced a secondary influence of Ancient symbolism through Western European emblematic collections and similar translated works. A lot of exotic images were rediscovered and aquired new meanings. Under the influence of the Jesuit theatre, the mouth of Cerberus became a variation of a well-known in Russia iconographic image of Hellmouth. In the plays by Dimitri of Rostov, the characters sent to the underworld found themselves in the mouth of a monstrous dog – inside an ingenious stage device. Toward the end of the 18th century Hell as a dog’s head appeared also in Russian popular prints, lubok.

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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.

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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.

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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.

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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.

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