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Staging sacred things: The circulat...

Williamson, Elizabeth.

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Staging sacred things: The circulation of religious objects in seventeenth-century drama.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Staging sacred things: The circulation of religious objects in seventeenth-century drama./
作者:	Williamson, Elizabeth.
面頁冊數:	417 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2231.
Contained By:	Dissertation Abstracts International66-06A.
標題:	Religion, History of. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3179833
ISBN:	9780542201059

Staging sacred things: The circulation of religious objects in seventeenth-century drama.
Williamson, Elizabeth.

Staging sacred things: The circulation of religious objects in seventeenth-century drama. - 417 p.

Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2231.

Thesis (Ph.D.)--University of Pennsylvania, 2005.

Although the English Protestant reformers set out to destroy all vestiges of Catholic idolatry, public theater companies frequently used such objects as stage properties. "Staging Sacred Things" explores the relations between material culture and theatrical performance by considering the social history and dramatic function of these properties, addressing their role as objects of devotion, idolatry, and remembrance on the professional stage. Rather than being aligned with identifiably Catholic or Protestant concerns, religious stage props functioned as fulcrums around which more complicated questions about Christian worship were played out, questions such as how an object gains or loses its sacred status, or whether inner faith can be manifested in outward gestures.

ISBN: 9780542201059Subjects--Topical Terms:

1017471
Religion, History of.

Staging sacred things: The circulation of religious objects in seventeenth-century drama.
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520 $a Although the English Protestant reformers set out to destroy all vestiges of Catholic idolatry, public theater companies frequently used such objects as stage properties. "Staging Sacred Things" explores the relations between material culture and theatrical performance by considering the social history and dramatic function of these properties, addressing their role as objects of devotion, idolatry, and remembrance on the professional stage. Rather than being aligned with identifiably Catholic or Protestant concerns, religious stage props functioned as fulcrums around which more complicated questions about Christian worship were played out, questions such as how an object gains or loses its sacred status, or whether inner faith can be manifested in outward gestures.
520 $a Each chapter of the dissertation examines the theater's appropriation of a particular sacred object and the stage practices associated with it. Chapter One addresses the use of tomb properties both in the medieval theater and on the early modern stage. Although these two dramatic forms---one associated with pre-Reformation Catholicism, the other with post-Reformation secularism---are seemingly disparate, they both include moments of resurrection that demonstrate a vital connection between them. Chapter Two argues that the public theater companies employed objects that could function as banquet tables in one scene and sacrificial altars in another in order to question the distinction between "idolatrous" Catholic altars and "godly" Protestant communion tables. Chapter Three explores the powerful resonance that crosses continued to take on in the theater long after these highly controversial objects had been removed from English churches. And Chapter Four focuses on the self-conscious use of religious books as stage properties, a practice that revealed the contradiction involved in designating material books and bodily practices of reading as indicators of an immaterial faith. In the concluding section, I suggest that the circulation of religious objects in the wake of the Reformation provides a useful model for thinking about the afterlives of stage properties. By tracing the appropriation of these highly charged religious properties, "Staging Sacred Things" directs attention to the London companies' increasingly sophisticated stage practices as well as to their investment in the materiality of worship, an investment they shared with the largely Protestant culture of sixteenth- and seventeenth-century England.
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