Modesty!, etching, published by G. Humphrey , London, 7th June 1821, (Caroline of Brunswick, wife of King George IV, at a theatre in Genoa, with her secretary and constant companion Bartolomeo Pergami) Victoria and Albert Museum, London, Museum number: S.51-2008 (Photo credit: Wikipedia)
“What I would say to a person who is firm in their faith and wants to go into an acting career: It is such a difficult thing to do without compromising your beliefs. Even though you are just pretending, if you sign the contract and agree to do what they are doing, even if your character is not evil or doesn’t compromise your belief, you are in a world similar to that of Alexander the Great. Everything the Greeks did was to promote their own worldview, their schools, their theater, their religion, and their sports. You are either in the world or with God. Committing yourself to some kind of job that isn’t committed to God is going to bring so much trouble into your life. It’s not good and not something I would suggest that someone seek.”
So says Angus T. Jones, the 19-yr-old star of Two and a Half Men. Now, I would have to agree with Jones that this particular show, which has for years made Jones himself one of the wealthiest child star on television, has few if any redeeming qualities. “Filth” may not be too strong a word. But he is raising a larger question here: Is it possible to be an actor and a Christian?
The 3rd-century Roman Christian Tertullian thought not. And he had some good reasons: “The Shows” of his time included nudity, sexual acts, and violence–including gladiatorial contests and the public execution-by-wild-animals of many Christians. They also took place in settings explicitly dedicated to idols. Here is Tertullian, in his de spectaculis (“The Shows”): Continue reading →
A couple of weeks ago I attended a performance of August Wilson‘s play Ma Rainey’s Black Bottomat the Guthrie Theater here in Minneapolis. The play was intense, humorous, and profane. It surfaced the complex ways Christianity has become a part of the fabric of African-American culture–even for those who have found themselves responding to the church and its message with skepticism and rage, as “white man’s religion.” After the play, for the second time this year, I had the opportunity to be a part of a panel of theologians after the performance (many thanks to United Theological Seminary president Mary McNamara’s hard work in arranging these panels).
Here are the reflections I shared on the play and the African American experience it portrayed:
First of all, I feel I’m standing on holy ground. Our playwright August Wilson was a Pulitzer Prize winner. But it’s more than that. When, as a young man, he decided to become not a lawyer but a writer—a spiritual craft if there ever was one—he incurred the ire of his mother. As a church historian, I remember that the Protestant Reformer Martin Luther also decided to follow his own path and enter a spiritual profession—the monastic life—instead of becoming a lawyer. And he, too, provoked the wrath of his parent; his father. Continue reading →
It’s always fun to find a reviewer or biographer who “gets” one of your favorite figures. Here is Adrian Leak, commemorating Dorothy L. Sayers on the 50th anniversary of her death.
Unlike the portrait of Sayers we derive from her Oxford magazine article I just posted on, here Sayers (an accomplished scholar of medieval French) separated herself from academia to position herself as a woman of the people, “no academic but a common popular soapbox lecturer.” The truth was at both ends of this paradox.
I recommend you click through to the full article, both for the pleasure of reading it and for the wonderful photo (which I had not seen before) of Sayers standing on stage with with actors performing in St Thomas’s, Regent Street, Westminster, and other photos:
THE FIRST THING that struck you about Dorothy L. Sayers was her magnificent size. It was not something that worried her, however. “The elephant is crated,” she gasped as, after a struggle, she subsided into the back of a friend’s car. At Marshall & Snelgrove, in Oxford Street, it took nine months to construct a corset robust enough to contain her.
Not that any conventional constraints ever restricted her for long. During a successful run of one of her plays in the West End she could be seen — and heard — entertaining the cast to large, bibulous suppers at the Soho restaurant Le Moulin d’Or. Wholehearted enjoyment characterised her approach not only to food and wine: when she lectured on Dante to the Society of Italian Studies at Cambridge, some of the academics were shocked by the vigour and élan of her delivery. Continue reading →
With admirable swiftness, Minneapolis’s Guthrie Theater has already posted the “Faith Healer” post-play theological panel discussion from last night as an iTunes podcast. It’s available free from iTunes–just search on Guthrie Theater podcasts. Mine is the last segment, starting around 9 minutes from the end of the podcast. My reflections focus on what a modern Pentecostal might think about one theme of this well-written, thought-provoking play–that a drunken Irishman with no evident faith is still able, on occasion, to heal people.
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