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Simulcast, Drama, and Perception

ByElizabeth

Last night I went to see the National Theater UK’s  simulcast (tape-delayed) of Helen Mirren performing in Ted Hughes’ translation of Racine’s Phedre at the Shakespeare Theater.  The tragedy of Phedre is misinformation, misguided helpers, and passion that has gone beyond sweet engagement to maddened attachment.

A stage production is intimate and designed for the small audience of those present in the theater.  When it is merely filmed (instead of being turned into a movie), it sometimes feels forced because it is watching a film of a stage production, instead of being invited in as one is when one is either at the stage production or the filming is done as a movie, which is designed to include the viewer in a manner for the film.

What was hard about watching the filming of the stage production, was being forced to have the camera’s and director’s perspective; there was no ability to turn my head and shift which part of the stage to give my attention.  At the same time, I felt appreciative of the miraculous offerings of technology:  the filming made something that is usually limited to those who can afford theater of that extraordinary quality and who are able to be in a certain place at a certain time available to tens of thousands around the globe, including me and my friend.  In that way, the filming both took away the intimacy of being physically present, but simultaneously created a unifying experience for a much bigger group of people.

I was inspired to think about the limitations and differences among the perceptions of the characters, of the critics (talking about the play and the film), of the smaller, elite audience (the actual theater goers’ — I’ve been at that theater in London), of the technologically broadened audience, and of mine in response to the essence of the tragedy, the story and substance of the play, the delivery of the play, and my own life as informed by the play.

It seems an interesting lesson on many levels on how we can choose to live with our passions, how we can react to limits and changes in our ability to perceive our own selves and the world around us, and on how and what we invite in through the doors of our perception.

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    When was the last time you noticed a “Hare Krishna?”

    ByElizabeth

    Yesterday morning, before I read the article in the Washington Post I discussed in yesterday’s post, a memory of an acquaintance from Quaker youth camp entered my seated meditation.  I had not thought about C in at least 30 years.  He was a couple of years older than me, and all the parents were a buzz with talk and worry when C decided that instead of going to college, he wanted to give away his possessions, live in a community devoted to simple living, a vegetarian diet, daily worship, a like-minded community, and spreading what they believe is the word of God.   Nowadays, many of the people who are in my broad social network would have nothing but admiration for someone who lived by and practiced such tenets, including the daily chanting of the name of Krishna (or some other deity).  In the late 70s, the parents were deeply concerned:  “He is in a cult, he is brainwashed, we need to get him back.”  “Back to what?” I remember thinking at the time.

    I have not seen a member of ISKON (International Society for Krishna Consciousness) in years.  Why not?  Not because the “cult” has disbanded.  Rather, it has grown substantially and become part of the fabric of our global religious society.   Now, by virtue of its longstanding existence,  its members blend in with accepted norms of social and religious behavior.

    What makes a cult?  What makes a religion?  How do cults and religions foster, spread, or interfere with our own relationship to spirit and our recognition of spirit in others.  What is the difference between ritual and religion?  Ritual and spiritual belief and practice?

    ps Craig made a good point yesterday about being sensitive to the practicing Hindus when we take part in some of their practices, but not in the context of the Hindu religion.  He also noted a number of rituals that have morphed and shifted with changing religious groupings in society.  ISKON “took” something that was part of the Hindu religious practice and opened it to the masses (proselytizing with enthusiasm).  Is that not analogous to the development of any religious sect?  Think about the meaning of the word “protestant.”  When is an off-shoot of a religion a cult, a “legitimate” religious group, or an offense to the group from which it parted in terms of stated belief or practice?  Does it matter that some take offense?  What if offense is taking because of a disturbance of a status quo that diminishes and constrains large elements of society (such as women or people of certain classes)?  What about practicing a ritual to honor members of another religion — I am thinking, in this regard, of the recent example of the White House seder?

    pps. How is this relevant to our yoga practice in the United States?  Many of us listen to and practice our asana to the music of “chant.”  Krishna Das has a CD called “All One” that has nothing on it but variations of the maha mantra “Hare Krishna” that became so notorious when ISKON was just being known here.  What does it mean when we listen to such music, buy such music, share such music, chant these words?

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    Nectar of Immortality?

    ByElizabeth

    Whenever I notice this graffiti–ubiquitously sprayed along sections of the Metro’s red line–I wonder if it is meant to refer to the ancient Indian texts, to invoke longings for soma, the nectar of the gods. Even if the intent of the artist was something much more prosaic, I am led to think of the soma about which I have read, and use seeing the word as a spur to invoke the sweetness of practice on my mundane travels.

    Peace and light, E — Posted with WordPress for BlackBerry.

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