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In the 1880s, socio-economic and technological changes in the United States contributed to the rejection of Christian architectural traditions and the development of the radically new auditorium church. Jeanne Kilde links this shift in evangelical Protestant architecture to changes in worship style and religious mission.
A theologian and a theatre artist examine both the nature of theatrical performance within contemporary culture and its relationship to Christian life, faith, and worship.
From before history was recorded to the present day, theatre has been a major artistic form around the world. From puppetry to mimes and street theatre, this complex art has utilized all other art forms such as dance, literature, music, painting, sculpture, and architecture. Every aspect of human activity and human culture can be, and has been, incorporated into the creation of theatre. In this Very Short Introduction Marvin Carlson takes us through Ancient Greece and Rome, to Medieval Japan and Europe, to America and beyond, and looks at how the various forms of theatre have been interpreted and enjoyed. Exploring the role that theatre artists play — from the actor and director to the designer and puppet-master, as well as the audience — this is an engaging exploration of what theatre has meant, and still means, to people of all ages at all times. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
The Church of Jesus Christ of Latter-day Saints adopted the vocal and theatrical traditions of American musical theater as important theological tenets. As Church membership grew, leaders saw how the genre could help define the faith and wove musical theater into many aspects of Mormon life. Jake Johnson merges the study of belonging in America with scholarship on voice and popular music to explore the surprising yet profound link between two quintessentially American institutions. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common platform for transmitting political and theological ideas. Johnson sees Mormons using musical theater as a medium for theology of voice--a religious practice that suggests how vicariously voicing another person can bring one closer to godliness. This sounding, Johnson suggests, created new opportunities for living. Voice and the musical theater tradition provided a site for Mormons to negotiate their way into middle-class respectability. At the same time, musical theater became a unique expressive tool of Mormon culture.
Theology is inherently theatrical, rooted in God's performance on the world stage and oriented toward faith seeking performative understanding in the theatre of everyday life. Following Hans Urs von Balthasar's magisterial, five-volume Theo-Drama, a growing number of theologians and pastors have been engaging more widely with theatre and drama, producing what has been recognized as a "theatrical turn" in theology. This volume includes thirteen essays from theologians and pastors who have contributed in distinct ways to this theatrical turn and who desire to deepen interdisciplinary dialogue between theology and theatre. The result is an unprecedented collection of essays that embodies and advances theatrical theology for the purpose of enriching theological reflection and edifying the church.
With plenty of hints and tips, 'Scenic Art for the Theatre' is an easily understood textbook for students and professionals alike who want to know more about set design and the history of scenic artistry.
How a pioneering merchant blended religion and business to create a unique American shopping experience On Christmas Eve, 1911, John Wanamaker stood in the middle of his elaborately decorated department store building in Philadelphia as shoppers milled around him picking up last minute Christmas presents. On that night, as for years to come, the store was filled with the sound of Christmas carols sung by thousands of shoppers, accompanied by the store’s Great Organ. Wanamaker recalled that moment in his diary, “I said to myself that I was in a temple,” a sentiment quite possibly shared by the thousands who thronged the store that night. Remembered for his store’s extravagant holiday decorations and displays, Wanamaker built one of the largest retailing businesses in the world and helped to define the American retail shopping experience. From the freedom to browse without purchase and the institution of one price for all customers to generous return policies, he helped to implement retailing conventions that continue to define American retail to this day. Wanamaker was also a leading Christian leader, participating in the major Protestant moral reform movements from his youth until his death in 1922. But most notably, he found ways to bring his religious commitments into the life of his store. He focused on the religious and moral development of his employees, developing training programs and summer camps to build their character, while among his clientele he sought to cultivate a Christian morality through decorum and taste. Wanamaker’s Temple examines how and why Wanamaker blended business and religion in his Philadelphia store, offering a historical exploration of the relationships between religion, commerce, and urban life in the late nineteenth and early twentieth century and illuminating how they merged in unexpected and public ways. Wanamaker's marriage of religion and retail had a pivotal role in the way American Protestantism was expressed and shaped in American life, and opened a new door for the intertwining of personal values with public commerce.
Jeanne Halgren Kilde's survey of church architecture is unlike any other. Her main concern is not the buildings themselves, but rather the dynamic character of Christianity and how church buildings shape and influence the religion. Kilde argues that a primary function of church buildings is to represent and reify three different types of power: divine power, or ideas about God; personal empowerment as manifested in the individual's perceived relationship to the divine; and social power, meaning the relationships between groups such as clergy and laity. Each type intersects with notions of Christian creed, cult, and code, and is represented spatially and materially in church buildings. Kilde explores these categories chronologically, from the early church to the twentieth century. She considers the form, organization, and use of worship rooms; the location of churches; and the interaction between churches and the wider culture. Church buildings have been integral to Christianity, and Kilde's important study sheds new light on the way they impact all aspects of the religion. Neither mere witnesses to transformations of religious thought or nor simple backgrounds for religious practice, church buildings are, in Kilde's view, dynamic participants in religious change and goldmines of information on Christianity itself.
The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.