This is overloaded, but I wanted to put in one place an answer to the question: What’s a play for?
– A play prompts an increase in compastion, for the sake of changed actions, leading to increased fellowship, where the product of fellowship is faith, and where faith is the sharing of self in building the common good, particularly peace.
– In the case of Soulographie, by getting people a little bit lost; by inspiring a kind of hermeneutic fear or at least dilation; the plays desire meaning without knowing what they mean; plays and audiences are meant to be present to the middle of meaning-making. The present tense is that way collaborative in a time of stress (compassionate).
Some questions, per play:
How is genocide denial connected with lust?
How do we rebuild a history out of its shadows, when we’re forced to sit in the dark?
How are the structures of primal, human tragedy lived expressed in the lives excluded from the Heroic platform?
Heavenly Shades of Night are Falling
What is the impact of genocide on the dream-life of the very young?
How do our descriptions of heaven and hell converge (how are they the same place)? How do we avoid the error of confusing human Force for an image of God’s Power?
How does trauma translate from witness to witness through the language of the body?
What do we find romantic about genocide? Why do we love it enough to keep bringing it back?
What are the uses and limits of suffering, as used in empathy?
Is there anything precious we would not kill, if it grew obsolete to our appetite?
How is virtue militant? And how does the militancy of virtue resolve itself to peace?
Are there guilty actions that are unforgivable?
How does a genocidal mentality (e.g. – negationism) show forth in daily life?
Is there a path to rehabilitation for a genocidaire? Or is the territory of guilt too vast?
Is wrong-action (murder) sometimes entirely justified, in terms of restoring balance? What is balance, and do we need it? What is the relationship between justice and symmetry?
How is the picture of genocide (it’s soul x-ray – its internal dynamic) like a south-western landscape? How is it whole, and continuous, and too big to take in? Does its scale save us from describing/recognizing?
How is a child soldier nonetheless a child? How is a child soldier nonetheless a child?
Can forgiveness (like desire) be perfect without its object? Can we forgive without knowing how to forgive, or even really know what we’re forgiving? Is forgiveness an action, or a faithful orientation – a readiness to act repeatedly, over time?