Reflecting on Life Together

Reported by: Molly Giesbrecht

Newberg, Ore. - “Life Together” is a series of five short plays written by George Fox University (GFU) junior Madeleine Teel as a part of a Richter Scholar’s project, based off of the teachings of Dietrich Bonhoeffer.

The Richter’s Grant is a program that funds independent research projects for students, conducted with a GFU faculty sponsor. Teel was awarded a Richter Grant, and she spent the summer researching the works of Bonhoffer, turning some of his theological arguments into creative vignettes in the form of short plays.

  “I focused on his book “Life Together,” which is about community living through Christianity. I took parts that challenged me personally and I wrote these plays that are supposed to examine the things that keep us from experiencing good, Christian community,” Teel said. “I wanted to play with the boundary between theology and art, and how theology can better be conveyed through art.”

  The research and writing was conducted over the summer and then, after recruiting directors and casting actors, there were a few weeks of rehearsals before they were performed in a dramatic reading over zoom. 

  The first play was “Imago Dei,” which means “Image of God.” It is about the idea that perhaps when we have issues and problems with our Christian neighbors, it is because they are becoming more like the image of God, and less like the image of ourselves, which makes us uncomfortable. This idea is explored through a critic who has a problem with an artist’s new piece of work because it doesn’t fit into what they think is an accurate representation of the artist.

  The second piece was “Actual Problems.” 

  “Oftentimes we get so caught up in the thing we assume about other people that it keeps us from actually connecting with them,” Teel explained. This is expressed through two of Teel’s characters, roommates who are so upset at each other over something completely ridiculous that they aren’t spending time being good roommates, and in turn completely overlook the actual problems they have going on.

  “Knowing Versus Doing,” Teel’s third play, addresses the idea that before you go out and help other people, you have to first make sure that your own life is in order. This is portrayed through a priest who lives in an apartment that is haunted, but he refuses to do anything about it, and that gets in the way of him being able to preach successfully.

  Fourth was “A Dreamer’s Reminiscence,” which features a character and his interaction with the embodiment of Dream, who banishes him from dreamland for spending too much time fantasizing about life instead of actually living it. This focuses on the issue that oftentimes Christians get too caught up in an idealized view of Christian community inside their head and forget that it exists in the real world. It is important, Teel wanted to make it clear, to accept what we have and thank God for what is right in front of us instead of just dreaming about what it could be. 

  The fifth and final play was called “The Harlequin.” Teel originally wrote this as a silent play—no dialogue, only action. However, this had to be modified to fit the format of a dramatic reading over zoom. The story is told through three mysterious sisters who all share one eye, taking turns relaying the events at hand. A man dressed as a harlequin enters a ballroom full of frozen people in masquerade masks. He inserts a beating human heart into each of their chests, and they come alive. But as soon as they remove their mask, he rips their heart out, and they freeze once again.

  “This one is about the power of vulnerability,” Teel explained. “In order to be vulnerable with other people we have to accept them, even in their worst states, and even when they disappoint us. When we recognize that the person in front of us is human and liable to fail, that’s when we also start to see the parts of God from within them.”

  The rehearsal process was fairly short, but was nonetheless enthusiastically met by the actors and directors. Noah Benson is a sophomore theatre major who played the role of the priest in “Knowing Versus Doing.” He was very excited to get to perform in this project. “The experience was extremely fun,” he said. “I always love performing and making art with other people and especially during COVID we haven't had many opportunities, so I really enjoyed it.”

  During the time “Life Together” was being prepared, rehearsals were also underway for GFU’s live virtual production of “Silent Sky,” which caused scheduling conflicts for some. Emma Johnson, a junior theatre major, directed “The Harlequin” and was also involved in “Silent Sky.” She described the experience as both fun and stressful.

  “I wish I had one more rehearsal to help solidify the work and to have more time to play. [Sometimes] I would have rehearsals during the dress rehearsals for “Silent Sky” when I wasn’t needed. So because of the time crunch rehearsal felt stressful. [But] once we got into the playing I was able to find joy in the process,” Johnson said. “It was a lot of fun to create theatre again after not doing much since April. It was fun to direct again and see what wonderful work our theatre program creates.”

  After submitting the plays and a recording of the reading to the Richters board, Teel hopes to continue improving upon the plays in hopes of one day getting them published. “Life Together” was one of the first GFU theatre performances of the year, and one of many virtual theatre productions yet to come.

  “Continue to support the arts and show up for them, especially in the pandemic,” Benson said, “We greatly appreciate having an audience and being supported.”