Plays

Frances Clemson
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Abstract

This chapter discusses Christmas plays and playing in theatres and courts, streets and churches. As an embodied art form, dramatic performance is able to powerfully convey the central Christian doctrine that God was born into the world as a human being, the Word made flesh. The fleshiness of the dramatic form has made performances of the Nativity controversial at times. The chapter explores dramatic treatments of Christ’s birth, before turning to the festive and playful nature of the Christmas season. Christmas playing has often involved joyous interruptions to the regular routines and order of social life, such as in the Feast of Fools. In some plays, however, an outward appearance of festivity disguises a more troubling narrative. The chapter concludes by considering Christmas plays as ‘gathering time(s)’. Christmas brings people together; it also draws together memories of past celebrations and hopes for the future. The stage offers its own modes of gathering, for characters and audiences, to discover together what Christmas means to them.
戏剧
这一章讨论了圣诞节戏剧和在剧院、法庭、街道和教堂的表演。作为一种具体的艺术形式,戏剧表演能够有力地传达基督教的核心教义,即上帝作为一个人降生到世界上,上帝的话语成为肉身。戏剧形式的肉感使耶稣诞生的表演有时引起争议。这一章探讨了基督诞生的戏剧性处理,然后转向圣诞节的节日和好玩的性质。圣诞游戏通常会打断正常的日常生活和社会生活秩序,比如在愚人节。然而,在一些戏剧中,节日的外表掩盖了更令人不安的叙述。本章最后将圣诞节戏剧视为“聚会时间”。圣诞节把人们聚在一起;它还汇集了过去庆祝活动的记忆和对未来的希望。舞台为角色和观众提供了自己的聚会方式,共同发现圣诞节对他们意味着什么。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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