I always rather like the fact that Ann, cast according to Mrs Keith’s much derided “character” principle, turns out actually to be a very good Mary.
And it is because she’s genuinely religious, isn’t it? – nobody ever suggests she’s anything of an actress otherwise.
It harks back to Miranda’s point in the art room discussion – when she’s mocking her friends’ irreligiosity and defending Miss Keith’s view and Tim says that if they all felt about the play as Ann does maybe it would indeed be an act of Offering – and then Lawrie says that its more important to make the audience feel religious. The way it turns out, it seems that both Miss Keith/Ann and Lawrie are right.
So the “message” here – sorry, clumsy I know – is maybe not that the play shouldn’t be religious, it is religious, but that it’s become a sort of unfortunate hybrid between those who really believe (Keith/Ann) and those who are only Christian by default (most of the rest of the cast). And it is two outsiders, Miranda and Patrick, who can see the Nativity story most clearly and be moved by it (Nicola, interestingly , hardly notices it apart from Lawrie’s bit). And Ann, who is the most sincere believer, and Lawrie, who is least sincere but most artistically committed, are the ones who can turn in the most credible performances.
And this is maybe reflecting Forest’s thoughts about the C of E that have been mentioned in previous threads…that it’s become social and conventional, and therefore somehow lost touch with a more Medieval origin simplicity and sincerity?
I also think this tension between the Play as religious and artistic makes Miranda’s exclusion rather ambiguous – Miranda’s anger, and the fact that she’s had a conversation with Nicola about anti-Semitism a few pages previously, suggest that she feels unfairly discriminated against – that Val at least is being somewhat anti-Semitic – but if the play is to be taken seriously as an Act of Worship, then it would indeed be disrespectful to Miranda’s own religion to expect or even allow her to participate. I don’t think there’s anyway round this – at least not for a school at that time and place.
Another thing – somewhere in The Marlows and their Maker there is a quote from Forest about writing along the lines of “things come off better when I remain completely detached” and I wonder if it’s her sense that the best writing comes from detachment rather than emotional involvement that is behind Lawrie’s argument about acting, which seems to be saying essentially the same thing.
(Sorry for adding all this so late and apologies if it overlaps with other comments – though this time I really have tried to read everything!)
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timeasmymeasure
Ann/religion/Miranda/exclusion/acting
Date: 2014-09-24 07:07 pm (UTC)And it is because she’s genuinely religious, isn’t it? – nobody ever suggests she’s anything of an actress otherwise.
It harks back to Miranda’s point in the art room discussion – when she’s mocking her friends’ irreligiosity and defending Miss Keith’s view and Tim says that if they all felt about the play as Ann does maybe it would indeed be an act of Offering – and then Lawrie says that its more important to make the audience feel religious. The way it turns out, it seems that both Miss Keith/Ann and Lawrie are right.
So the “message” here – sorry, clumsy I know – is maybe not that the play shouldn’t be religious, it is religious, but that it’s become a sort of unfortunate hybrid between those who really believe (Keith/Ann) and those who are only Christian by default (most of the rest of the cast). And it is two outsiders, Miranda and Patrick, who can see the Nativity story most clearly and be moved by it (Nicola, interestingly , hardly notices it apart from Lawrie’s bit). And Ann, who is the most sincere believer, and Lawrie, who is least sincere but most artistically committed, are the ones who can turn in the most credible performances.
And this is maybe reflecting Forest’s thoughts about the C of E that have been mentioned in previous threads…that it’s become social and conventional, and therefore somehow lost touch with a more Medieval origin simplicity and sincerity?
I also think this tension between the Play as religious and artistic makes Miranda’s exclusion rather ambiguous – Miranda’s anger, and the fact that she’s had a conversation with Nicola about anti-Semitism a few pages previously, suggest that she feels unfairly discriminated against – that Val at least is being somewhat anti-Semitic – but if the play is to be taken seriously as an Act of Worship, then it would indeed be disrespectful to Miranda’s own religion to expect or even allow her to participate. I don’t think there’s anyway round this – at least not for a school at that time and place.
Another thing – somewhere in The Marlows and their Maker there is a quote from Forest about writing along the lines of “things come off better when I remain completely detached” and I wonder if it’s her sense that the best writing comes from detachment rather than emotional involvement that is behind Lawrie’s argument about acting, which seems to be saying essentially the same thing.
(Sorry for adding all this so late and apologies if it overlaps with other comments – though this time I really have tried to read everything!)