I now see that the last three years I have written on art and theatre have become the foundation for a more cohesive work. Within the realm of theatre it is all play. I cannot play without the image, without the stage. From the examination of play, image and stage will be explored with a philosophical and religious imagistic perspective that will gather what moves and what is still upon the stage.
Though the stage is the foundation of playing, I will begin with its playful head: image—and that heady concept will give rise to three additional concepts, and those concepts the same, until it reaches the breadth and heart of theatre. Then I will return to the foundation: stage—and that one foundational concept will then branch into three concepts until it too reaches the breadth and heart of theatre.
I am daunted by the task. I go because the master is of need of it. So I follow.
Religious Imagism represents God’s grace made present on the stage through the mess and conflicts of its darkness and secrets to its cathartic revelation of pathos and joy. Within the context of the image upon the stage, Religious Imagism is the knowledge, heart and action of the Character of Image.
It may seem the production of theatre is not religious at all and even the opposite of it; but, Religious Imagism can be present and it is vital that it is present. Even a curse can be a prayer.
I am seeking the sacrament of theatre—a visible form of an invisible grace: the sacrament of play. Its presence is never constant, like the sacrament of the Eucharist or Forgiveness and Penance. But it can be here upon the stage and the oneness of it should be defined and its mystery explored.
The form is so visible that the invisible foundation and its depth of grace is brought to life by playing.
My work is an artistic rendering of a sacrament. That is all.