THE DRAMA CIRCLE

Promoting Bahá'í-inspired Theatre Initiatives

MENU

Select Guidance related to Drama
and the Performing Arts (Cont'd)

Drama as a Profession

39. “The people of Bahá should not deny any soul the reward due to him, should treat craftsmen with deference, and, unlike the people aforetime, should not defile their tongues with abuse. In this Day the sun of craftsmanship shineth above the horizon of the occident and the river of arts is flowing out of the sea of that region. One must speak with fairness and appreciate such bounty.”

Bahá’u’lláh, “Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas” (Wilmette: Bahá'í Publishing Trust, 1995), pp. 38-39.
 

40. “What Bahá'u'lláh meant primarily with "sciences that begin and end in words" are those theological treatises and commentaries that encumber the human mind rather than help it to attain the truth. The students would devote their life to their study but still attain no where. Bahá'u'lláh surely never meant to include story writing under such a category; and shorthand and typewriting are both most useful talents, very necessary in our present social and economic life.”

Letter to an individual on behalf of Shoghi Effendi, 30 November 1932. (From “The Importance of the Arts” compilation, #32)

The Future of Drama

41. “He sincerely hopes that as the Cause grows and talented persons come under it's banner, they will begin to produce in art the divine spirit that animates their soul. Every religion has brought with it some form of art let us see what wonders this Cause is going to bring along. Such a glorious spirit should also give vent to a glorious art. The Temple with all its beauty is only the first ray of an early dawn; even more wondrous things are to be achieved in the future.”

Letter to an individual on behalf of Shoghi Effendi, 11 December 1931. (From “The Importance of the Arts” compilation, #26)
 

42. “It is certain that with the spread of the spirit of Bahá'u'lláh a new era will dawn in art and literature. Whereas before the form was perfect but the spirit was lacking, now there will be a glorious spirit embodied in a form immeasurably improved by the quickened genius of the world.”

Letter to an individual on behalf of Shoghi Effendi, 3 April 1932. (From “The Importance of the Arts” compilation, #28)
 

43. “Shoghi Effendi was very much interested to learn of the success of the "Pageant of the Nations" you produced. He sincerely hopes that all those who attended it were inspired by the same spirit that animated you while arranging it… It is through such presentations that we can arouse the interest of the greatest number of people in the spirit of the Cause. The day will come when the Cause will spread like wildfire when its spirit and teachings will be presented on the stage or in art and literature as a whole. Art can better awaken such noble sentiments than cold rationalizing, especially among the mass of the people.
     We have to wait only a few years to see how the spirit breathed by Bahá'u'lláh will find expression in the work of the artists. What you and some other Bahá'ís are attempting are only faint rays that precede the effulgent light of a glorious morn. We cannot yet value the part the Cause is destined to play in the life of society. We have to give it time. The material this spirit has to mould is too crude and unworthy, but it will at last give way and the Cause of Bahá'u'lláh will reveal itself in its full splendour.”

Letter to an individual on behalf of Shoghi Effendi, 10 October 1932. (From “The Importance of the Arts” compilation, #30)
 

44. “…it is far too early in the Bahá'í Dispensation to talk about the influence of the Faith on the arts in general. Indeed the beloved Guardian himself has pointed out that there is, as yet, no such thing as Bahá'í art although there is no doubt from statements in the writings that a wonderful efflorescence of new and beautiful arts may be anticipated in the future..”

The Universal House of Justice, Letter to a National Spiritual Assembly, 17 January 1973. (From “The Importance of the Arts” compilation, #46)
 

45. “Although now is only the very beginning of Bahá’í art, yet the friends who feel they are gifted in such matters should endeavour to develop and cultivate their gifts and through their works to reflect, however inadequately, the Divine Spirit which Bahá'u'lláh has breathed into the world.”

Letter to an individual on behalf of Shoghi Effendi, 4 November 1937. (From “The Importance of the Arts” compilation, #36)
 

46. “With the evolution of the Bahá’í society, which is composed of people of many cultural origins and diverse tastes, each with his conception of what is aesthetically acceptable and pleasing, those Bahá'ís who are gifted in music, drama and the visual arts are free to exercise their talents in ways which will serve the Faith of God. They should not feel disturbed at the lack of appreciation by sundry believers. Rather, in knowledge of the cogent writings of the Faith on music and artistic expression ... they should continue their artistic endeavours in prayerful recognition that the arts are powerful instruments to serve the Cause, arts which in time will have their Bahá’í fruition.”

Letter to an individual on behalf of the Universal House of Justice, 9 August 1983. (From “The Importance of the Arts” compilation, #53)
 

47. “The stage will be the pulpit of the future.”

‘Abdu’l Bahá, as recorded by Loulie Mathews in “The Magazine of the Children of the Kingdom,” June 1923.

“Our Theatre”

48. “When ‘Abdu’l-Bahá was in London, in 1913, amoung His many callers was an actress who spoke to Him of the theatre and of her work. "We also have a theatre," said ‘Abdu’l-Bahá. The actress immediately became all interest and enthusiasm. "Yes, where is it?" she said. "I should see love to see it. Can I play in it?"
     "Our theatre," ‘Abdu’l-Bahá answered, smiling, "is built in a country where there is eternal springtime. The streets of that city are as clean as the surface of a mirror. The lights of that playhouse are the rays of the Sun of Reality, the actors of our drama are the Holy Manifestations of God, the audience is composed of pure and sanctified souls. They play their parts with the most delicate art. They deliver their words with power and potency. The stage of our theater is the arena upon which is played the sublimest tragedy, the most terrible drama, the most thrilling and heart-moving events of life.
     "Come and join our company. You have acted all your life upon the material stage. Now come and act on this celestial stage. Your follow actors will assist you, will coach you in your part and step by step you will become a star shining in the galaxy of those heavenly inspired dramatists.”

‘Abdu’l-Bahá, as recorded in “Star of the West,” Vol. V, p. 149.

Bahá’u’lláh and the play “Shah Sultan Salim”
(From the “Lawh-i-Ra'ís”)

49. “When I was still a child and had not yet attained the age of maturity, My father made arrangments in Tihran for the marriage of one of My older brothers, and as is customary in that city, the festivities lasted for seven days and seven nights. On the last day it was announced that the play "Shah Sultan Salim" would be presented. A large number of princes, dignitaries, and notables of the capital gathered for the occasion. I was sitting in one of the upper rooms of the building [166] and observing the scene. Presently a tent was pitched in the courtyard, and before long some small human-like figures, each appearing to be no more than about a hand's span in height, were seen to emerge from it and raise the call: "His Majesty is coming! Arrange the seats at once!" Other figures then came forth, some of whom were seen to be engaged in sweeping, others in sprinkling water, and thereafter another, who was announced as the chief town crier, raised his call and bade the people assemble for an audience with the king. Next, several groups of figures made their appearance and took their places, the first attired in hats and sashes after the Persian fashion, the second wielding battleaxes, and the third comprising a number of footmen and executioners carrying bastinados. Finally there appeared, arrayed in regal majesty and crowned with a royal diadem, a kingly figure, bearing himself with the utmost haughtiness and grandeur, at turns advancing and pausing in his progress, who proceeded with great solemnity, poise and dignity to seat himself upon his throne.
     At that moment a volley of shots was fired, a fanfare of trumpets was sounded, and king and tent were enveloped in a pall of smoke. When it had cleared, the king, ensconced upon his throne, was seen surrounded by a suite of ministers, princes, and dignitaries of state who, having taken their places, were standing at attention in his presence. A captured thief was then brought before the king, who gave the order that the offender should be beheaded. Without a moment's delay the [167] chief executioner cut off the thief's head, whence a blood-like liquid came forth. After this the king held audience with his court, during which intelligence was received that a rebellion had broken out on a certain frontier. Thereupon the king reviewed his troops and despatched several regiments supported by artillery to quell the uprising. A few moments later cannons were heard booming from behind the tent, and it was announced that a battle had been engaged.
     This Youth regarded the scene with great amazement. When the royal audience was ended, the curtain was drawn, and, after some twenty minutes, a man emerged from behind the tent carrying a box under his arm.
     "What is this box," I asked him, "and what was the nature of this display?"
     "All this lavish display and these elaborate devices," he replied, "the king, the princes, and the ministers, their pomp and glory, their might and power, everything you saw, are now contained within this box."
     I swear by My Lord Who, through a single word of His Mouth, hath brought into being all created things! Ever since that day, all the trappings of the world have seemed in the eyes of this Youth akin to that same spectacle. They have never been, nor will they ever be, of any weight and consequence, be it to the extent of a grain of mustard seed. How greatly I marveled that men should pride themselves upon such vanities, whilst those possessed of insight, ere they witness any evidence of human glory, perceive with certainty the [168] inevitability of its waning. "Never have I looked upon any thing save that I have seen extinction before it; and God, verily, is a sufficient witness!"
     It behoveth everyone to traverse this brief span of life with sincerity and fairness. Should one fail to attain unto the recognition of Him Who is the Eternal Truth, let him at least conduct himself with reason and justice. Erelong these outward trappings, these visible treasures, these earthly vanities, these arrayed armies, these adorned vestures, these proud and overweening souls, all shall pass into the confines of the grave, as though into that box. In the eyes of those possessed of insight, all this conflict, contention and vainglory hath ever been, and will ever be, like unto the play and pastimes of children. Take heed, and be not of them that see and yet deny.”

Bahá’u’lláh, The Summons of the Lord of Hosts, pp. 165-168.

- R -

Page 1

* Introduction

* The Role of Drama & the Arts in the Bahá’í Community

* The Place of the Arts in the Current Priorities

Page 2

* The Source of the Arts

* Drama & Education

Page 3

* Attitudes & Environment

* Subject Matter

* More on Subject Matter