Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/33939
Type of publication: Straipsnis / Article
Author(s): Truskauskaitė, Vitalija
Title: Sakralinio teatro refleksija Česlavo Milošo kūryboje
Other Title: A reflection of sacral theatre in creative work by Czeslaw Miłosz
Is part of: Soter : religijos mokslo žurnalas, 2008, nr. 25(53), p. 189-202
Date: 2008
Keywords: Sakralinis teatras;Česlavas Milošas;Misterijų teatras;Identitetas;Dievo meilė;Dvasinė erozija;Sacral theatre;Czeslav Miłosz;Mystery theatre;Identity;God love;Spiritual erosi;Ordo amoris
Abstract: Straipsnyje nagrinėjama sakralinio teatro istorijos ir teorijos refleksija Česlavo Milošo (Czeslaw Miłosz) kūryboje. Pirmojoje dalyje pristatomas sakralinio teatro istorijos ir teorijos naratyvas lenkų literatūros kontekste. Antrojoje dalyje pristatoma futurologinė poetinės kūrybos perspektyva, ateities teatro įžvalgos. Lyginant klasikinio teatro tradicijos refleksiją su modernių laikų žmogaus dvasine situacija, pristatoma šiuolaikinio sakralinio teatro kaip ordo amoris vizija. Sakralinio teatro fenomenus poetas Česlavas Milošas regi teatro raidos perspektyvoje kaip universalų žmonijos gyvenimo ženklą, apmąstomą teatro raiškos priemonėmis. Atkuriant ir naujai išgyvenant misterijų vaidinimuose Kristaus gyvenimo, mirties ir prisikėlimo įvykius buvo gaivinama asmens atmintis, individualizuojamas žmogaus ir metafizinės tikrovės ryšys. Misterijų teatro forma pasirodė esanti tvari, o pirmojo sąlyčio su krikščioniškojo teatro patirtimi metu buvo sukurta istorinio tęstinumo tradicija. Rašytojo sukurtas sakralinio teatro tęstinumo diskursas praturtinamas nauja, komiškąja žmogaus nuodėmingumo savivoka. Sakralinio teatro naratyve Česlavas Milošas išskiria mesianistinę laikyseną brandinančio asmens sampratą. Atminties žemės topografijos žemėlapyje savo krikščionišką identitetą atkuriantis žmogus apjungia stilistinę sakralinio teatro įvairovę, atgaivina prarastą laiką, atkuria metafizinės tikrovės meditaciją. Ateities teatrą Česlavas Milošas tapatina su poetinio, sakralinio teatro tradicija. Krikščioniškosios dramos teminė plėtotė ateities teatre poeto siejama su universaliu teatro kaip visatos, kurioje atsispindi antgamtinio pasaulio šviesa, vaizdiniu. Teatro išraiškos priemonių minimalizmas ateities teatro vizijoje grindžiamas daiktu – objektu, išaugusiu iš aplinkos, ją atkuriančiu, cituojančiu laiko slinktyje gimusias prasmes. Daiktuose – objektuose skleidžiasi visatos pilnatvė, o nuostabos jausmas, lydintis šias būties citatas, tarsi atkuria universumo dimensiją, beveik neįmanomą natūralistiniuose teatro vaizdiniuose.
The history of sacral theatre and the reflection of theory in the creative work by Česlavas Milošas are discussed in this article. The first part contains a presentation of the history of sacral theatre and theoretical narrative in the context of Polish literature. The second part presents a futuristic perspective on poetic creativity and insights on the theatre of the future. In the comparison of the reflections on classical theatre traditions with the spiritual situation of the human being in modernity, the contemporary sacral theatre is presented as a vision of ordo amoris. The texts by Česlavas Milošas about the theatre arts were the inspiration for this research. By distinguishing the statements by the poet about the sacral, attention is directed to an aspect of the work by this author. His descriptions of different theatrical events and their analytical analyses are actually a part of the integrated reflections about the spiritual situation of the modern person. The poet discusses the processes of the theatre arts in a very broad cultural, historical, political and theological context. In his later texts, the writer notices that the contemporary creative arts become mental acts, serving creativity that involves “phantoms of the mind”. ThThe author negatively assesses this latest trend. Based on his personal experience, he claims that only efforts to rethink reality in the light of hierarchical values without refuting the powers of mimetic creativity saved him from spiritual erosion. These considerations seem to provoke a current scholar to obedience and a review of sacral theatre traditions through the eyes of the modern person by searching for certain sources. Such sources should be able to blossom in contemporary plays of the sacral theatre, refreshing and inspiring artists of the third millennium for reflections of the religious experience. The road that an author envisages in the creativity of the sacral theatre is designated for those persons who, according to Erich From, are suffering through loneliness and their need to overcome it by making some contact. This need for love, as per the psychologist, does not differ in the least from a form of religious love, named the love of God. The feeling of love and the experience of unity with God seem to fill in the space of the sacral play, revealing personal maturity and creating a fusion with “…an indescribable life force, leading to a unififification, lying beneath the world of phenomena, and to the foundation of all existence.” The sacral theatre seemingly becomes an opportunity, according to philosopher Max Scheler, to comprehend and sense the world as a form of Godly order and live through it by way of love, by ordo amoris. Love of God is a dynamic formation of things, a growth, a thrusting towards one’s own primary vision which, as Max Scheler notices, are contained in God. The experience of the love of God is specifically that important aspect of personal upbringing, possible for the modern person. This is so because a being, experiencing “…love as a primary act, while still remaining a limited being, crosses over one’s own limitations to participate within another being like an ens intencionale”.
Internet: https://eltalpykla.vdu.lt/1/33939
https://hdl.handle.net/20.500.12259/33939
Appears in Collections:SOTER: religijos mokslo žurnalas / SOTER: Journal of Religious Science 2008, nr. 25(53)

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