An Outward and Visible Sign of an Inward and Spiritual Grace: Stewart Headlam on the Ballet

Drawing on Headlam's sermons, pamphlets, and letters, this article explores his theology of the ballet, a theology made possible by his conception of sacrament and sacramental bodies. Headlam's incarnational sacramentalism not only enabled a support of the stage as divinely created and a s...

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Bibliographic Details
Main Author: Renberg, Lynneth J. Miller (Author)
Format: Electronic Article
Language:English
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Published: Brill [2019]
In: Church history and religious culture
Year: 2019, Volume: 99, Issue: 2, Pages: 248-269
Standardized Subjects / Keyword chains:B Headlam, Stewart D. 1847-1924 / Ballet / Performing arts / Sacramental theology / Body
IxTheo Classification:CD Christianity and Culture
KAH Church history 1648-1913; modern history
KDE Anglican Church
NBE Anthropology
NBP Sacramentology; sacraments
Further subjects:B Theology
B Nineteenth Century
B Ballet
B Gender
Online Access: Volltext (Resolving-System)
Volltext (doi)
Description
Summary:Drawing on Headlam's sermons, pamphlets, and letters, this article explores his theology of the ballet, a theology made possible by his conception of sacrament and sacramental bodies. Headlam's incarnational sacramentalism not only enabled a support of the stage as divinely created and a sacrosanct space, but created an approach to dancers, particularly women, that was distinct in its treatment of all bodies as the same in potentiality before God. His sacramentalism defied the standard conflation of dance with female transgression and male danger. Accordingly, Headlam's vision of the earthly kingdom of God was one in which there was truly neither male nor female, and in which the stage and its ballerinas could act as models of the grace of Christ rather than as reflections of fallen humanity.
ISSN:1871-2428
Contains:Enthalten in: Church history and religious culture
Persistent identifiers:DOI: 10.1163/18712428-09902001