God S Theatre

This is the story of M. Francisco Fabrigas, explorer, philosopher, heretical physicist, who took a shipful of children on a frightening voyage to the next dimension, assisted by a teenaged Captain, a brave deaf boy, a cunning blind girl, and a sultry botanist, all the while pursued by the Pope of the universe and a well-dressed mesmerist. Dark plots, demonic cults, murderous jungles, quantum mayhem, the birth of creation, the death of time, and a creature called the Sweety: all this and more waits beyond the veil of reality.

A collection of stories relating to the sins of famous and historical figures, including an account of the death of Marlowe.

Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions. Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920–22) and artistic director of Toronto’s Hart House Theatre (1927–29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s.

Theology is inherently theatrical, rooted in God's performance on the world stage and oriented toward faith seeking performative understanding in the theatre of everyday life. Following Hans Urs von Balthasar's magisterial, five-volume 'Theo-Drama', a growing number of theologians and pastors have been engaging more widely with theatre and drama, producing what has been recognized as a

Rarely has the private world of the director in the rehearsal room been so frankly and entertainingly opened. In addition to the art and craft of directing, they discuss: multiculturalism; the 'classical' repertoire; theatre companies and institutions; working in a foreign language; opera; Shakespeare; new technologies; the art of acting; design; international festivals; politics and aesthetics; the audience; theatre and society.

Among the most intriguing questions of neurology is how conceptions of good and evil arise in the human brain. In a world where we encounter god-like forces in nature, and try to transcend them, the development of a neural network dramatizing good against evil seems inevitable. This critical book explores the cosmic dimensions of the brain's inner theatre as revealed by neurology, cognitive science, evolutionary psychology, psychoanalysis, primatology and exemplary Western performances. In theatre, film, and television, supernatural figures express the brain's anatomical features as humans transform their natural environment into cosmic and theological spaces in order to grapple with their vulnerability in the world.