I was raised in a Christian home (Episcopalian, to be exact) and since I can remember, the crux of my faith and relationship to God has been creative. I explore my personal theology of the gospel and faith in the divine through creative mediums, most notably, theatre. I do not mean to say that every work I enter into is theocentric– for those of you who know me it might seem the case, given the undertone’s of my director’s project work and my play for Lydia’s class. I have found that many of the things that might be considered religiously taboo that I encounter in the theatre (no surprises there) but that also many things I discus in religious and theological/philosophical settings may seem, inversely, taboo in theatrical settings.
I want to be able to have my voice in this area heard without feeling like I’m stepping on anyone’s toes, but at the same time feel as if there is a place for my voice on this matter. So, for this reason and others, this years I signed up for a class called Introduction to Preaching. I hoped that the class would inform both my acting and playwriting, as well it did. In this class we were required to write sermons and discuss theological literature. During this I learned that the vocabulary and tools of those who intend to proclaim the word of God for a living is very, VERY similar to the vocabulary and tools we share at CFA.
So what is the point? That I am learning to articulate my thoughts on this matter concisely, and that I now feel better prepared to defend it in a theatrical setting (without, of course, offending others). I don’t think spiritual/theological voices are missing from modern theatre, but I do (personally) find them less celebrated, or else the spiritual aspects of current work is not in popular focus. These voice ARE present, playwrights such as Arlene Hutton, Sarah Ruhl and many of the authors of the adaptations we have been discussing in class exhibit spiritual/theological traits in their works (I am certainly not saying, again, that this is ALL they focus on, simply that it is there).
As part of this I would like to share with you excepts from two documents. First is a list I cam across online that stipulates plays that are “must-reads” for any theologian (We’ve read most, if not all of them!) The second is something of my own. In my Preaching class I was asked to compose a personal theology of the gospel in under two pages (AHHH!) I found this to be very much like composing a theatrical manifesto, and that my personal theology is very deeply rooted in creativity. In that vein, I have elected to share a small portion of it with you.
20 Essential Plays for Theologians
Georgia’s Personal Theology of the gospel (Excerpt):
*Please note, this is me today. Any personal theology is subject to change!
…I believe that we fulfill our duty and relationship to God through the work we are called to do for him, and this is what the Holy Spirit is. When we exhibit the grace, justice love and compassion of God, we are embodying the Holy Spirit. Here, I can only speak from personal experience. In my life I have found that I am talented in the area of theatre. Thus, as a believer I make it my mission to serve God through this medium. The work that I do as a theatre artist aims to be in the service of God…to personally wrestle with and grow in my faith through the creative work that I do.
I am very interested in the presence of this theology/spirituality in theatre, and my hope is that it will continue to become more prevalent in theatrical conversation
