Carolyn Roark The day after Easter, Stephen Colbert opened his nightly television report with a queasy description of “going on a Catholic bender.” Wincing behind black sunglasses, he describes getting “totally pious-faced” in a holy debauch of novenas and “Our Fathers,” randomly blessing people as he stumbled across Manhattan, and finally waking up next to
Carolyn Roark Recently, I watched my various social networks light up with conversation in the wake of a Pew Forum study on religious knowledge in the United States. The executive summary for the study is available at www.pewforum.org. I recommend it to the readership of this journal, or to anyone with an interest in religion
Carolyn Roark This volume was never slated to be a special issue, and officially it is not. Yet the felicitous commonalities between contributions suggest it might be. Both features address contemporary interventions into ancient performance. Miriam Kammer’s feature titled “Romanization, Rebellion, and the Theatre of Ancient Palestine” uses recent archaeological finds to consider the possible
Carolyn Roark At its earliest inception, this issue was going to be dedicated to examining queer approaches to religion through performance. But then, on Valentine’s Day 2008, NPR aired a piece entitled “The Joy of Christian Sex Toys,” which highlighted the efforts of online retailer Book 22, purveyors of intimacy aids to married Christian couples.
Carolyn Roark Theatre making is, at heart, a utopian endeavor. With every production, we strive to make a perfect world— precisely lit, evocatively costumed, populated with irresistible characters, following a flawless story arc. Even if you don’t believe in the perfectibility of our own reality, it is what we aim for on stage. No surprise
Carolyn Roark Some months ago, Hazem Azmy and I were discussing the movement of ideas between “East” and “West”—those two mythical zones that fit so well into the binary classification system persisting in public discourse. Even though it elides, even denies, the polymorphous character of our world, you still see it in media outlets, on
Carolyn Roark I begin with the obvious—I am certain that readers and puzzled librarians noticed upon picking up this volume that the masthead bears the name Ecumenica rather than the Baylor Journal of Theatre and Performance. As editor, let me assure you that our scholarly mission and commitments remain the same. The change of name,