Subject
Theater -- Moral and ethical aspects Books
Best books
Charles Kingsley
Plays and Puritans
"Plays and Puritans" by Charles Kingsley is a collection of historical essays written during the late 19th century. The text delves into the interplay between art and religion during the era of the Puritans in England, focusing on their contentious relationship with theatrical plays and the dramatic arts. Kingsley explores how societal attitudes towards art were shaped by the Puritan ethos and critiques perceptions of the period as a golden age of art-making. At the start of the work, Kingsley provides a contextual framework, discussing the pervasive notion of "Art" in British society and how many believe that the artistic expressions of the period were stifled by Puritanism. He outlines the historical undercurrents driving this conflict, reflecting on the decline of the English stage and the moral implications surrounding the representations of vice in dramatizations. Kingsley emphasizes the need for critical examination of historical sources to understand the dynamics at play, arguing that Puritan opposition to theatrical works stemmed from a genuine concern over moral decay rather than mere fanaticism. This sets the stage for an exploration of both artistic expression and the ethical ramifications it carries in a changing society.
Gaston Maugras
Les comédiens hors la loi
"Les comédiens hors la loi" by Gaston Maugras is a historical account written in the late 19th century. It investigates why actors were long treated as socially and religiously suspect, tracing their status from sacred ritual origins through Roman infamy, Christian condemnation, medieval liturgy, and modern rehabilitation. Drawing on councils, laws, and vivid episodes, it clarifies how prejudice formed, persisted, and waned. This study will appeal to readers interested in theater history, church–state relations, and shifting cultural norms. The opening of the work frames the subject with the 1884 Saint‑Roch mass honoring Corneille, contrasted with the punishment of a Paris curé for a similar service in 1763, and cites a lively press debate to show how misunderstood the Church’s treatment of actors remains. The author sets out his plan to survey actors’ legal and religious status from Greece and Rome through the Middle Ages to the eighteenth and nineteenth centuries, listing key sources. He first shows the stage arising from religious rites—honored in Greece—then becoming infamous at Rome as performances passed to slaves and to mass entertainments of the circus, mimes, and pantomimes, despite their continuing pagan-sacral character and imperial favor. He then explains the early Church’s rationale for condemning spectacles and denying sacraments to performers unless they quit the stage, notes emperors’ mixed measures (including Justinian’s permission for converts to leave the profession), and describes the decline of theaters in the West under barbarian invasions while they endured in the East. Finally, the narrative sketches the medieval revival of drama within churches—liturgical plays for major feasts alongside the unruly Feast of Fools—before the excerpt breaks off.
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