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.
AN ANTI-WAR PLAY OF THE MIDDLE OF THE XX CENTURY: PRINCIPLES OF CONSTRUCTION AND APPEAL TO DELL’ARTE PRACTICES, SITUATION COMEDY, CINEMA, DIDACTIC THEATER, THEATER OF CRUELTY (BASED ON ROBERTO ARLTA’S “IRON HOLIDAY”)
