Book Review: The Spiritual Exercises of St Ignatius of Loyola

This article considers the theme of discernment in the tradition of Ignatian spirituality emanating from the Spiritual Exercises of St Ignatius of Loyola (1491-1556), the founder of the Society of Jesus (Jesuits). After a brief introduction which addresses the central problematic of bad influences that manifest themselves as good, the article turns to the life and work of two Jesuits, the 16th C English missionary to India, Thomas Stephens and the 20th C French historian and cultural critic, Michel de Certeau. Both kept up a constant dialogue with local culture in which they sought authenticity in their response to ‘events’, whether a hideous massacre which shaped the pastoral commitment and writing of Stephens in the south of the Portuguese enclave of Goa or the 1968 student-led protests in Paris that so much affected the thinking of de Certeau. Very different in terms of personal background and contemporary experience, they both share in a tradition of discernment as a virtuous response to what both would understand as the ‘wisdom of the Spirit’ revealed in their personal interactions with ‘the other’.

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Jesuit Theater and Drama

10.1093/oxfordhb/9780199935420.013.55 ◽

2016 ◽

Cited By ~ 1

Author(s):

Kevin J. Wetmore

Keyword(s):

Early Modern ◽

Society Of Jesus ◽

Spiritual Exercises ◽

Audience Member ◽

Early Modern Europe ◽

Educational Theater ◽

Ignatius Of Loyola ◽

Modern Europe ◽

Key Aspects ◽

Didactic Theater

The historic Jesuit theater represents two centuries of didactic theater in which the Society of Jesus, following both the organizational instructions andSpiritual Exercisesof founder Ignatius of Loyola, used theater to inculcate virtue in both performer and audience member while teaching Latin, dance, poise, rhetoric, oratory, and confidence to the students who performed. Jesuit spirituality is inherently theatrical, and conversely Jesuit theater was intended to also be highly spiritual. The dramaturgy and scenography was spectacular and designed to draw audiences who would delight in them and learn the moral lessons the Jesuits hoped to teach while simultaneously drawing them away from a corrupt public theater. This essay considers Jesuit drama and theater in four key aspects: (1) Jesuit spirituality and performative practice; (2) the historic Jesuit educational theater of early modern Europe; (3) Jesuit drama in the missions outside of Europe; and (4) contemporary Jesuits involved in theater.

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