Hostname: page-component-848d4c4894-pftt2 Total loading time: 0 Render date: 2024-05-30T00:45:59.126Z Has data issue: false hasContentIssue false

Play and Liturgy Towards a Transcendental Sense of the Experience of the Mystery

Published online by Cambridge University Press:  01 January 2024

Abstract

In The Spirit of Liturgy, Romano Guardini argued that liturgy is a playful activity. But one may ask, can liturgy really be analysed in light of the experience of play? This question opens up different theoretical problems, which range from a fundamental understanding of play and its celebratory spirit to a consideration of liturgy as an event of the divine Mystery. In this paper, I will therefore explore the nature of Christian ritual performance, drawing on a phenomenological analysis of the connections between play and liturgy in the process, before concluding that the liturgy – from a transcendental perspective – is in fact a playful activity. The argument will thus include a study of the particularity and difference of the original ritual patterns and the universe of play, thereby bringing into focus the interplay between the sense of rite and the experience of play. In such a way, I will show that play provides us with one of the possible ways of approaching the essence of the Christian ritual celebration as a transcendental experience of Mystery, as well as shedding light on the interrelation between homo ludens and homo liturgicus.

Type
Original Article
Copyright
Copyright © 2018 Provincial Council of the English Province of the Order of Preachers

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Guardini, Romano, The Spirit of Liturgy (New York: A Herder & Herder Book, 1998)Google Scholar. On the key role played by the work The Spirit of Liturgy in the Liturgical Movement see: Neunheuser, Burkhard, ‘La liturgie dans la vision de Romano Guardini’ in Pistoia, Alessandro, Triacca, Achille M., ed., La liturgie: son sens, son esprit, sa méthode, Conferences St. Serge (Roma: CLV, 1981), pp. 179-189Google Scholar; Marshall, Martin, In Warheit beten: Romano Guardini – Denker liturgischer Erneuerung (Sankt Ottilien: EOS-Verlag, 1986)Google Scholar; Debuyst, Frédéric, Romano Guardini. Einfürung in sein liturgisches Denken (Regensburg: Friedrich Pustet Verlag, 2009)Google Scholar. On the concept of liturgical play in Guardini see: Maggiani, Silvano, ‘Per una definizione del concetto di liturgia: le categorie di ‘gratuità’ e di ‘gioco’. La proposta di Romano Guardini’, in Dell'Oro, Ferdinando, ed., Mysterion. Miscellanea liturgica in occasione del 70 anni dell'abate Salvatore Marsili (Torino: Leumann, 1981) pp. 89-114Google Scholar.

2 The distinction the English language makes between play and game involves certain difficulties. What the author like Guardini calls Spiel cannot be translated as either game or play. However, in the English translation of Guardini's Spirit of Liturgy the word Spiel is translated as play.

3 Pascal, Blaise, Pensées and Other Writings, translated by Levi, Honor (Oxford: Oxford University Press, 1995), n. 169-171, pp. 48-49Google Scholar.

4 Ratzinger, Joseph, The Spirit of the Liturgy (San Francisco: Ignatius Press, 2000) pp. 13-15Google Scholar.

5 See Rahner, Hugo Man at Play (New York: Herder and Herder, 1965)Google Scholar. In addition, within Western theology some scholars attempt to define God as a creative player. Play could then be thought as a theological phenomenon rather than a purely cultural and anthropological issue. The theology of play having evolved in the 20th century has had a considerable theoretical impact. See also Moltman, Jürgen, Theology of Play (New York: Harper and Row, 1972)Google Scholar; Watts, Alan, Beyond Theology: The Art of Godmanship (New York: Pantheon, 1964)Google Scholar. See more recent studies: Giacchetta, Francesco, Gioco e trascendenza. Dal divertimento alla relazione teologica (Assisi: Cittadella Editrice, 2005)Google Scholar; Terrin, Aldo N., Liturgia come gioco (Brescia: Morcelliana, 2014)Google Scholar.

6 Nasini, Francesco, ‘Il “gioco” liturgico in Romano Guardini e Odo Casel’, Rivista liturgica 99 (2012), pp. 484-509Google Scholar.

7 Gadamer, Hans G., Truth and Method (London and New York: Continuum, 2006), p. 102Google Scholar.

8 Huizinga, Johan, Homo Ludens. A Study of the Play-Element in the Culture (London: Routledge & Kegan Paul, 1980), p. 21Google Scholar

9 Terrin, Liturgia come gioco, p. 53.

10 The concept of ethos here is understood in the anthropological sense, as it was suggested by C. Geertz: “A people's ethos is the tone, character, and quality of their life, its moral and aesthetic style and mood; it is the underlying attitude toward themselves and their world that life reflects. Their world view is their picture of the way things in sheer actuality are, their concept of nature, of self, of society. It contains their most comprehensive ideas of order.” Geertz, Clifford, The interpretation of cultures (New York: Basic Books, 1973), p. 127Google Scholar.

11 Casel, Odo, ‘Zur Idee der Liturgischen Festfeier’, Jahrbuch für Liturgiewissenschaft 3 (1923), pp. 93-99Google Scholar.

12 Ibid., p. 93.

13 Guardini, The Spirit of the Liturgy, p. 66.

14 Fink, Eugen, ‘Play as Symbol of the World’, in Fink, Eugen, Play as Symbol of the World and Other Writings (Indiana: Indiana University Press, 2016), pp. 160-178Google Scholar.

15 Ricciardone, Paola de Sanctis, Antropologia e gioco (Napoli: Liguori editore, 1994), pp. 57-107Google Scholar.

16 Guardini, The Spirit of the Liturgy, p. 67.

17 Levy-Bruhl, Lucien, Primitive Mentality (London & New York: George Allen and the Macmillan Company, 1923), p. 82Google Scholar.

18 Tagliaferri, Roberto, La violazione del mondo. Ricerche di epistemologia liturgica (Roma: Centro Liturgico Vicenziano, 1996), p. 213Google Scholar.

19 Gluckmann, Max, Les rites de passage, in Gluckman, Max, ed., Essays on the Ritual of Social Relation (Manchester: Manchester University Press, 1962), p. 22Google Scholar.

20 Guardini, besides play, cites art as well as the mode of total experience, because art, along with play – useless but meaningful – shows its power to bring man close to the heart of reality. Guardini, The Spirit of the Liturgy, p. 71.

Hans G. Gadamer founds his aesthetics upon the concept of play-festival-ritual. Discussing the concept of play and festival, Gadamer also emphasises the phenomenon of art and, in considering play in relation to the celebratory spirit of art, he recognises its place as inherent to “the being of the work of art itself”. Gadamer, Truth and Method, p. 87.

21 Guardini, The Spirit of the Liturgy, p. 71.

22 Ibid., The Spirit of the Liturgy, p. 66.

23 Guardini, The Spirit of the Liturgy, p. 69.

24 Terrin, Liturgia come gioco, p. 57.

25 Guardini, The Spirit of the Liturgy, p. 66.

26 Guardini, The Spirit of the Liturgy, p. 69.

27 Smith, Jonathan Z., ‘The Bare Facts of Ritual’, in Smith, Jonathan Z., Imagining Religion: From Babylon to Jonestown (Chicago: University of Chicago Press, 1982), pp. 53-65Google Scholar.

28 Selligman, Adam B., ‘Ritual and the Subjunctive’, in Selligman, Adam B.Weller, Robert P.Puett, Michael J.Simon, Bennett, Ritual and Its Consequences. An Essay on the Limits of Sincerity (Oxford: Oxford University Press, 2008), pp. 17-42CrossRefGoogle Scholar.

29 Guardini, The Spirit of the Liturgy, p. 70.

30 Ibid., p. 69.

31 Ibid., p. 61.

32 Huizinga, Homo ludens, p. 18.

33 Cardita, Ȃngelo M. Dos Santos, Liturgical Polarity and Symbolic Hermenutics, in Leachmann, James G., ed., The Liturgical Subject. Subject, Subjectivity and the Human Person in Contemporary Liturgical Discussion and Critique (London: SCM Press, 2008), p. 33Google Scholar.