Between Play and Prayer: The Variety of Theatricals in by Anita Hammer

By Anita Hammer

Among Play and Prayer launches non secular functionality as a time period to hide all human functionality which indirectly refers to making the presence of beings or entities from a realm that transgresses the sensorial. This proposal covers a superb number of performative genres, starting from funerary companies, spiritualist performances of deceased souls, to religious readings. This vast and deep method of quite a number performances is answering a renewed yearning for spirituality in modern tradition. when it comes to functionality conception and aesthetic conception, ideas of religion, trust, event, play, prayer and theatricality, are set in movement while presenting the need of experiencing such performances on their lonesome phrases. intensive descriptions of numerous performances in Norwegian and New Zealand neighborhood contexts convey the need of experiencing and knowing an existential caliber in religious functionality. religion, now not credo, is on the center of religious perform. The publication represents a brand new, leading edge and trans-disciplinary method of spirituality in functionality. The interpreting of this e-book is a needs to for students within the box of theatre- and function experiences, ritual and competition reports, for students of faith, and a person attracted to the knowledge of religious practices.

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Extra resources for Between Play and Prayer: The Variety of Theatricals in Spiritual Performance (Consciousness, Literature and the Arts, Volume 27)

Sample text

44 Introduction 41 41 ence as the creative act of the doer on the one side, and the undergoing side of the receiver of experience, points out that an experience has necessarily also such a quality. “The esthetic or undergoing phase of experience is receptive. It involves surrender,”45 says Dewey. In my view this statement points directly to the connection between sacred and aesthetic experience. There is, however, another aspect to this that will be equally interesting to explore: namely the fact that in prayer, the human being seems to be in a double act.

It is against this background that I deploy the term love as an incentive for my research. I want to take back this term, and make loving my material and my theory, the means to a more honest approach than I would otherwise be able to accomplish. 5. On experience When Dewey states: “An angler may eat his catch without thereby losing the esthetic satisfaction he experienced in casting and play- 36 Between Play and Prayer ing,”29 he is pointing to experience as a process in which various stages are framed by states of the mind.

This is because I am, for the moment, setting out to communicate experience. Experience has to come first, then reflection upon it. (This is my point of view as far as research is concerned, while these processes are curiously combined simultaneously in some of the performances I refer to). If pre-conceptions stand in the way of experience, they must be abandoned. If experience does not fit with preconceived ideas, then what is to go, experience or ideas? The answer is obvious. 49 The recollections, presentations, and stories I will present here are 48 49 James, 385.

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