Source Materials
Feast of Fools
Feast of Fools by Harvey Cox is a theological work detailing the importance of festivity and play for both spiritual and social life, and the ways in which Western society discourages this type of festivity.
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The book traces the decline of festivity in European and American societies in relation to the rise of capitalism and the 'Protestant work ethic,' which gave way to solemnity and gravity in all aspects of life. In contrast, he holds the medieval 'Feast of Fools,' a short period categorized by play, lampooning, and satire of all the highest aspects of social life, including political and religious heads. Comedy, satire, and festival, according to Cox, allow one to both place themselves within a historical context and moment, look hopefully toward their future, and revel in their present.
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Godspell takes inspiration from the book's final chapter, "Christ as Harlequin." In it, Cox discusses the historical and scriptural context for a clown-like portrayal of Jesus, this portrayal's decline as the church grew powerful, and its possibility for reemergence in a "post-Christian" era. Below are some passages that illuminate the concept of Christ-as-harlequin.
WATCH: "Topsy Turvy" from The Hunchback of Notre Dame, which portrays a Feast of Fools. By Alan Menken and Godspell composer Stephen Schwartz
"But it must have also been true that these catacomb Christians had a deeper sense of the comic absurdity of their position... they must have known they were 'fools for Christ,' but they also claimed that the foolishness of God is wiser than the wisdom of men"
Pop art by Sister Corita Kent. Cox calls this an example of rediscovered "playful spirit" in the church. CLICK to see her full collection of art
"At the end [Jesus] is costumed by his enemies in a mocking caricature of royal paraphernalia. He is crucified amidst sniggers and taunts with a sign over his head that lampoons his laughable claim"
"Only by assuming a playful attitude toward our religious tradition can we possibly make any sense of it. Only by learning to laugh at the hopelessness around us can we touch the hem of hope. Christ the clown signifies our playful appreciation of the past and our comic refusal to accept the spectre of inevitability in the future"