Neitzsche and some more antisocials (20th century, Foucault & Co.) are missing...
Summary
Thank God I'm an atheist. --Luis Bunuel
Questions
Nietzsche: "What? Is man merely a mistake of God's? Or God merely a mistake of man's?"
Notes
I am a lie who always speaks the truth. --Jean Cocteau
Ionesco: There is no religion in which everyday life is not considered a prison; there is no philosophy or ideology that does not think that we live in alienation.
"Indeed, it is during the discussion of Godot that students can reflect on the contemporary institution of literature and its standards for greatness." Beckett's Godot (God) is a capricious being: he promises but never fulfills; he beats the boy who takes care of his sheep for no reason whatsoever and treats well the boy who takes care of his goats. The biblical symbolism of sheep and goats is only too obvious. For Beckett, God is arbitrary in his dealings with man, and the biblical image of a just and loving father is a false one." *
Five parts: Comedy, Drama, Tragedy, Modern, Postmodern, Realism & Anti-Realism (see pages @ THR directory @ Film-North
Anti-Realism and The End of the National Theatre (Styles and Movements)
The trick is to organize Structural (Formal) Principles (Composition, Plot, Character, etc -- see 200X Aesthetics) and the Historical, plus the Topical (Family, Individual, Gender, Death, etc).
God in POMO plays.
First, where is God in High Modernity?
Glass Menagerie -- "American God" in 20th century?
... Where else Man could seek "understanding"? He is the only animal with sense of self. He has to have it!
"We are all born mad. Some remain so."
–Waiting for Godot
When Church Became Theatre :
The Transformation of Evangelical Architecture and Worship in Nineteenth-Century America
Publication date 2002 (this edition)
Print ISBN-13: 978-0-19-514341-6
Explores the social and religious contexts that informed the development and the widespread adoption of the neomedieval auditorium church type by evangelical Protestants in the late nineteenth century. The building type is characterized by an architecturally eclectic exterior facade, emphasizing Gothic or Romanesque vocabularies, and an amphitheater-like main auditorium with theater features. Blending social, religious, and architectural history, the book examines the buildings as texts that bear witness to significant changes in religious creed, code, and cultus. The democratic and homelike character of these buildings indicate shifts in Protestant creed, the facilities for musical performance and congregational participation attest to changes in cultus or worship practice, and the integration of a variety of functional rooms into these churches evidence significant negotiations between the traditional evangelical code or mission of proselytizing and a new mission centered on family ministry. Adopted by Congregationalists, Presbyterians, Methodists, and Baptists across the U.S., these buildings attest to the existence of an evangelical social and theological unity in the final decades of the century, a united Christian front on a public landscape that many feared was marred by social unrest. By the 1920s, that evangelical Christian unity would rupture, congregations would be rent as religious, and social conservatives split from liberals throughout the country. This rupture would significantly reduce the popularity of the neomedieval auditorium church in the twentieth century.
theatre as church [ church = theatre : God as Spectator ]
