Playing God: A paradoxical dramaturgy-Reference-Cited by-同舟云学术

Playing God: A paradoxical dramaturgy

Published:2010-06-01 Issue:2 Volume:1 Page:161-174
ISSN:1757-1952
Container-title:Empedocles: European Journal for the Philosophy of Communication
language:en
Short-container-title:Empedocles: European Journal for the Philosophy of Communication

Author:

Snow Peter¹

Affiliation:

1. Monash University.

Abstract

This article will explore a paradoxical dramaturgy. Last year I played Yahweh in a production entitled OT: Chronicles of the Old Testament. It was part of the 2007 Malthouse Theatre season in Melbourne, and directed by Christian Leavesley and Phil Rolfe. To embody Yahweh is to make manifest the divine, make material the ineffable, and yet allow the illusion that all is still spirit. How does one become God, if only for a moment? Well, for at least as long as the play lasts. Given the atheist fundamentalism espoused recently by Dawkins, Onfray and Hitchens, in what spirit is a corporeal critique of the pervasive power of the Old Testament, and in particular it's vengeful, wrathful, forgetful, dancing God the Father, possible?

Publisher

Intellect

Subject

Linguistics and Language,Philosophy,Communication,Language and Linguistics

Reference21 articles.

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2. Badiou, Alain (2005), `Theses on Theater', in Handbook of Inaesethetics, (trans. A. Toscano), Stanford, CA: Stanford University Press.

3. Bloom, Harold (2005), Jesus and Yahweh: The names divine, New York: Riverhead Books.

4. Cole, Susan Letzler (1992), Directors in Rehearsal: a hidden world, New York: Routledge.

5. Dawkins, Richard (2006), The God Delusion, London: Transworld Publishers.