The Divine Visual Story By: Blake Strickland


Constans Theatre's setting and plentiful artistic elements properly complemented The Divine. As soon as we entered the building, my roommate and I were assured that we were in for a treat. We were seated towards the rear right corner, which frankly diminished the theatre experience; thankfully the stage's broad presentation and efficient lighting compensated this minor deficit. When the lights dimmed and the audience lulled, my roommate and I immediately ceased communication. My theatrical anxiety finally relinquished, and some of the main characters were introduced. Furthermore, the auditorium's grand size along with the play's outstanding stage-work helped create the simulation of a professional Broadway show! My spatial experience during The Divine is collectively comprised of the role of place in the Good Life, because setting and all of its elements bring a general sense of contentment to the viewer, actor/actress, and even liver.


Since I attended The Divine with my roommate Justin, I was seated next to him and a sorority girl named Megan. Prior to our arrival, I prepared myself for the play by attempting some research on it; little information was available besides registration and event times, and soon thereafter I ironically found out that I was one of this performance's first witnesses! Alongside Justin and Megan, I shared some laughs until the intermission of course, by which afterwards we shared tears. Having not gone alone saved me the embarrassment of letting my feelings be seen to the audience! The role of shared experiences in the pursuit of the Good Life involves the importance of mutual emotions and how they lead to connections and friendships in the long run.

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Cultural & Intellectual

After experiencing this performance, I took on a new approach to understanding our own culture: society MUST learn to abstain from taking advantage of goods and others. The story's setting during the advent of the industrial revolution augments the severity of the issue of labor and how it still remains pressing. The many verbal altercations and the few physical ones in the first half of the play (mostly caused by the enforcement of labor) go to show that everybody in the world has flaws, and in order to take control of them, you must first have the courage to embrace them. The subject matter actually does relate to my personal life, as I used to have many disagreements with my mother that led to fights, but now that I look back, I feel like I wasted all my precious time arguing with her, when there were plenty more reasons why I should have been thanking her.


The Divine: A Play for Sarah Bernhardt sets the perfect example for one to genuinely undergo katharsis. Seeing the characters, even the ones I was beginning to like, brawl over all sorts of little imperfections in a way served as a reminder of all the useless controversy I have caused or willingly involved myself in. Without taking realization of our own flaws, we will inevitably be on the hunt to point those of others. This is evident after the second half of the play, which proved itself to be so enlightening. The audience is involved in the cast to teach this very lesson to those who pridefully elicit luxuries and/or peers. Although it may seem firsthand that the audience is under attack, it is simply being guided on a better path toward the Good Life. What better way to educate a point than to invite young students to a performance that initially seems rhetorical but concludes informatively.

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