This book explores how religious values are acted out and reflected on in classic Western theatre, with a particular emphasis on the plays put on during the Globe Theatre‘s yearlong season of 'Shakespeare and the Bible'. Each chapter includes ethnographic overviews of the performance of these plays as well as historical and theological perspectives on the issues they address. The Performance of Religion treads new ground in bringing performance and religious studies scholarship into direct conversation with one another. As such, it is essential reading for any academic with an interest in theology, religion and ethics and their expression in culture through the performing arts.

The intersections of religion, politics, and performance form the loci of many of the most serious issues facing the world today, sites where some of the world’s most pressing and momentous events are contested and played out. That this circumstance warrants continued, thoughtful, and imaginative engagement from those within the fields of theatre and performance is one of the guiding principles of this volume. This collection features a diverse set of perspectives, written by some of the top scholars in the relevant fields, on the many modern intersections of religion with theatre and performance. Contributors argue that religion can no longer be conceived of as a cultural phenomenon that is safely sequestered in the "private sphere." It is instead an explicitly public force that stimulates and complicates public actions, and thus a crucial component of much performance. From mystic theologies of acting to the neuroscience of spirituality in rituals to the performance of secularism, these essays address a broad variety of religious traditions, sharing a common conception of religion as a crucial object of discourse—one that is formed by, and significantly formative of, performance.

Religious life and public life are both passionately performed, but often understood to exclude one another. This book's array of voices investigates the publics hailed by religious performances and the challenges they offer to theories of the democratic public sphere.

In Performance and Religion in Early Modern England, Matthew J. Smith seeks to expand our view of “the theatrical.” By revealing the creative and phenomenal ways that performances reshaped religious material in early modern England, he offers a more inclusive and integrative view of performance culture. Smith argues that early modern theatrical and religious practices are better understood through a comparative study of multiple performance types: not only commercial plays but also ballads, jigs, sermons, pageants, ceremonies, and festivals. Our definition of performance culture is augmented by the ways these events looked, sounded, felt, and even tasted to their audiences. This expanded view illustrates how the post-Reformation period utilized new capabilities brought about by religious change and continuity alike. Smith posits that theatrical practice at this time was acutely aware of its power not just to imitate but to work performatively, and to create spaces where audiences could both imaginatively comprehend and immediately enact their social, festive, ethical, and religious overtures. Each chapter in the book builds on the previous ones to form a cumulative overview of early modern performance culture. This book is unique in bringing this variety of performance types, their archives, venues, and audiences together at the crossroads of religion and theater in early modern England. Scholars, graduate and undergraduate students, and those generally interested in the Renaissance will enjoy this book.

In the seventeenth-century English Atlantic, religious beliefs and practices played a central role in creating racial identity. English Protestantism provided a vocabulary and structure to describe and maintain boundaries between insider and outsider. In this path-breaking study, Heather Miyano Kopelson peels back the layers of conflicting definitions of bodies and competing practices of faith in the puritan Atlantic, demonstrating how the categories of “white,” “black,” and “Indian” developed alongside religious boundaries between “Christian” and “heathen” and between “Catholic” and “Protestant.” Faithful Bodies focuses on three communities of Protestant dissent in the Atlantic World: Bermuda, Massachusetts, and Rhode Island. In this “puritan Atlantic,” religion determined insider and outsider status: at times Africans and Natives could belong as long as they embraced the Protestant faith, while Irish Catholics and English Quakers remained suspect. Colonists’ interactions with indigenous peoples of the Americas and with West Central Africans shaped their understandings of human difference and its acceptable boundaries. Prayer, religious instruction, sexual behavior, and other public and private acts became markers of whether or not blacks and Indians were sinning Christians or godless heathens. As slavery became law, transgressing people of color counted less and less as sinners in English puritans’ eyes, even as some of them made Christianity an integral part of their communities. As Kopelson shows, this transformation proceeded unevenly but inexorably during the long seventeenth century.

He favors the use of a broad range of analytic tools drawn from multiple disciplines and approaches to the study of religion.) The five chapters of this book describe the central concepts and arguments now advancing the study of religious practice. Chapter 1, entitled "Theories", discusses the theoretical contributions associated with the aforementioned shift in religious studies to the investigation of religious practice. Chapter 2, "Situations", discusses how religious activities and experiences are shaped by the physical and temporal spaces in which social action occurs. Chapter 3, "Intentions", takes on an important topic that has proven difficult to study from a social science perspective. "Feelings" are the focus of Chapter 4, and the role of "Bodies" is addressed in Chapter 5. .

"In Unbridled, scholar of religion William Robert uses Peter Shaffer's enigmatic 1973 play Equus, about a boy passionately devoted to horses, to think about and teach religion. For Robert, a play like Equus tangles together text, performance, practice, embodiment, and reception. Studying a play involves us in playing different roles, as ourselves and others, and those roles, as well as the imaginative work they require, are critical to the study of religion. By approaching Equus with the reader, Robert transforms standard approaches to the study of religion, engaging with key themes including ritual, sacrifice, worship, power, desire, violence, and sexuality, as well as major thinkers such as Marx, Freud, Nietzsche, and contemporary theorists such as J. Z. Smith and Judith Butler. As Robert shows, the way themes and theories play out in Equus challenges us to imagine the study of religion anew through open questioning, contrasting perspectives, and alternative modes of interpretation and appreciation"--

Shaman, paragon, God-mode: modern video games are heavily coded with religious undertones. From the Shinto-inspired Japanese video game Okami to the internationally popular The Legend of Zelda and Halo, many video games rely on religious themes and symbols to drive the narrative and frame the storyline. Playing with Religion in Digital Games explores the increasingly complex relationship between gaming and global religious practices. For example, how does religion help organize the communities in MMORPGs such as World of Warcraft? What role has censorship played in localizing games like Actraiser in the western world? How do evangelical Christians react to violence, gore, and sexuality in some of the most popular games such as Mass Effect or Grand Theft Auto? With contributions by scholars and gamers from all over the world, this collection offers a unique perspective to the intersections of religion and the virtual world.

In many contemporary and popular forms of religious practice, digital technology and the spiritual are inseparable. Ranging from streaming broadcasts of spiritual possessions to screenings of mass prayer conferences in stadiums, spirits and divinities now have new forms in which they can materialise. By offering the notion of ‘digital spirits’, this book critically attends to the intersections of digital media and spiritual beings. It also puts forward a new performative perspective on how they interact. Taking cues from the work of Stewart Hoover and Heidi Campbell, among others, the book begins with an outline of the current debates around religion, performance and digital media. It then moves on to examine how mediality and religion, where embodied practices are carried out alongside virtual practices, work together in contemporary Asia. These case studies focus on lived religious practices in combination with various forms of media, and so help demonstrate that digital technology in particular reveals the layered processes of spirituality in practice. Gods and divinities have always relied on media to manifest, and this book is a fascinating exploration of how digital media has continued that tradition and taken it in new directions. As such, it will be of great interest to scholars of religious studies, digital media and performance studies.