In the theatre, aspects of life are heightened from the artist playing into the image. The significant flowing of that artist reaches higher than themselves. However, there is no peak. The height can never be reached. But, it is so pervasive that the theatre artist participates with it. Religious Imagism relies upon the significant difference between the person and the height allowing the participation of their union in image. It is by the crafting of image that the person of the player participates in the height.
The quality and attributes of the person of the player rise above the preoccupations of the self. Instead, they are oriented by the image. The person of the player cannot be (were they ever reaching?) beyond themselves without some participation from the spiritual realm—the religious realm. The craft of the player is not simply about the person or even about the person’s relations with other players. If it is only that, theatre becomes too myopic—the craft is simply self involved improvement. Theatre as Religious Imagism includes the liminal dimension—a dimension that is not the player. Even as the person of the player is with the height, they are not the height—the height is still beyond them. They cannot fully know it.
The player is among the stillness unto silence. And to remain in it, while still crafting image among such unknowing, the person of the player heightens its patience. They discern process while always cradling attentiveness. They progress by waiting; they endure their procession of blindness of failure of brokenness—the endurance for the forgiven. The patient forgiver (the patient forgiven) demands utter humility. In that state, the person of the player is attentive for the union of their craft to image—the progression of home.