Holy Trinity – Peculiar Faith

In the world of theatrical productions—whether live theater, film, or television—there is a concept known as the “fourth wall.”

It’s probably easiest to grasp this concept in a traditional proscenium theater: the “fourth wall” is where the stage ends and the audience begins. The “proscenium” is the arched frame around that invisible line and it marks a boundary between the actors on stage (or screen) and the audience in their seats.

Most theatrical productions respect the integrity of that fourth wall as a matter of principle. Performers act as if the audience is not there and they resist addressing the audience directly. Some believe this separation—which makes the audience a collection of “observers”—creates the conditions for a more “realistic” performance, convincing audience members that they are witnessing something from “real life” and not just on a stage.

Breaking that fourth wall, by contrast, can feel disorienting or even rude, as if an unspoken contract had been violated. Audience members are suddenly no longer merely observers but in some way participants in the action—whether they like it or not.

Ancient Greek plays toyed with that wall with the convention of a “chorus,” that collection of voices that would sometimes narrate the action for the benefit of the audience. Shakespeare did this more directly (with Hamlet, for example, and also Puck in A Mid-Summer’s Night Dream).

Twentieth-century directors of both stage and film began breaking that fourth wall more intentionally and regularly as a way to invite viewers more deeply into an unfolding story, as if they themselves were characters in the plot. (The 1986 film Ferris Bueller’s Day Off is a classic example of this when Matthew Broderick’s character talks directly to the camera/audience. The more recent television sitcom Modern Family does this when one or more of the characters occasionally reflects on a plot point in a given episode by talking directly to the camera.)

Yesterday’s lectionary for Trinity Sunday gave us a classic story from Isaiah (6:1-8) that now strikes me as a wonderful example of God breaking the “fourth wall.” The story begins quite routinely, with Isaiah in the temple for worship. The temple—just like almost every church—is a carefully designed space; holy things are kept separate from most of the human beings in the configuration of all the religious furniture.

But on that one particular day, and much to Isaiah’s surprise, the invisible wall of separation crumbles. Suddenly the presence of God is filling the whole temple; Heaven itself is spilling over its banks, flooding past its borders. Angels and archangels, cherubim and seraphim fill the skies, and their voices shake the very foundations of the Universe as they declare how God’s glory fills the whole Earth.

Needless to say, Isaiah is overwhelmed by this, and his first response is to feel unworthy even to be there. But when God asks whether anyone will step up and do what needs to be done—“who will go for us?”—Isaiah immediately volunteers. His “Yes” is enthusiastic even though he doesn’t even know what the mission is yet!

This vision of God is life-changing for Isaiah, which is not usually how most people think about worship. It’s much more common to imagine a “fourth wall” remaining firmly, if invisibly in place in our houses of worship, as if we are attending something like a formal concert: we watch, we listen, we observe from a safe distance.

Karl Marx once famously described religion as the “opiate of the people”; whatever he may have meant by that critique, it deserves careful scrutiny. Do religious practices merely keep us passive and acquiescent to the cultural status quo?

Journalist and historian Anne Applebaum analyzes a similar dynamic in politics. In her new book about the rise of authoritarian regimes, she suggests that dictators thrive on the apathy of their societies. In a world that is already as good as we can make it, there’s no point in agitating for change; apathy and cynicism are the cultivated virtues of controlled masses.

In rather stark contrast to sacred segregation and distant deities, John’s Jesus reveals the very essence of God as self-giving love. It’s so easy to take such words for granted, especially when they come from the overly-familiar third chapter of John’s account of the Gospel: “for God so loved the world that God gave…” (John 3:1-17).

But here’s at least one reason to pay close attention to familiar claims: rather than making us merely passive observers, encountering the self-giving God in worship should engage us, involve us, and change us.

So here’s the thing, strange as it may sound: I think the doctrine of the Holy Trinity emerged in Christian traditions for exactly that world-changing purpose. If that’s not how most people think of worship, they certainly don’t think of religious doctrine that way. But even though the purposes of doctrine are often obscured or distorted, it’s worth pondering why they might still matter.

Perhaps the doctrinal notion of God as Trinity matters like this: The self-giving God breaks the fourth wall, drawing us into God’s very own endless life of deathless love. This matters (sometimes dramatically) when we can no longer keep God isolated behind that protective “fourth wall” and when we ourselves are no longer merely observers of some distant divinity starring in a heavenly play.

The God of Isaiah and the God of Jesus is the God who is with us and among us, the God who is for us and also ahead of us, who is inviting us ever deeper into that great drama of creating and redeeming and sustaining the wonders of God’s whole wide world of life.

Clearly, this is not how most people speak in a Trinitarian way about God. Like most people, even lifelong Christians, I was surprised to learn some years ago that Christian traditions offer more than just one way to name the Trinitarian character of God. “Father, Son, and Holy Spirit” is the most familiar way to name the Trinity but there are others.

St. Augustine in the fifth century proposed a whole sheaf of ways to name God, including this: the “Lover, the Beloved, and Love itself.” In my own life of prayer and occasionally in the liturgy produced at All Saints’ Parish, I am fond of yet another way: God as “the Source of Life, the Incarnate Word, and the Abiding Spirit of Love.”

We could also draw more directly from the performing arts: the Holy Trinity as the divine dance of grace; the Trinitarian God as the sacred song of hope; the Triune God as a troupe of improvisers, who tell fantastical stories inspired by the wild and wooly creatures they relish making.

None of these ways of speaking about God is perfect, and each has its own problems. I mean, of course they do; we cannot possibly speak “correctly” about the infinite mystery of the living God. But let’s make sure our theological language is always wildly expansive and thoroughly inviting, recalling above all else that God is not a solo performer alone on stage. What we mean by the word “God” is always and forever an ensemble, urging, luring, and drawing us ever deeper into God’s own life.

Worship matters, as beloved Isaiah discovered, and the way we worship can make a difference in how we live, which is John’s point throughout his account of the Gospel. Our liturgical life is not a spectator sport; it’s supposed to change us so that we can change the world.

All of this is why I embrace life in the Church as a performance, but never with a “fourth wall.” The whole world is the stage, and we are performing together—with God—for a better world.

The world Christian worship invites us to imagine is a world in which every performance is directed by love, produced by grace, and every actor is committed to peace with justice for the flourishing of every creature of God.

Worship not only invites us to imagine such a world; worship equips us to build it.

And it was good.
And it was good.
And it was very good.

There are still four more instances of that declaration of goodness in the first account of God’s creation of the world in Genesis, and many Christians heard all seven of them this past weekend when we celebrated Trinity Sunday.

What does it mean to call something “good”? What makes something “good” and how can we discern when it is? And why would it matter so much to repeat this refrain of goodness so often in the story of creation?

I’m guessing that human beings have not changed so terribly much over the last few thousand years. Just like today, humans in the ancient Mediterranean world likely thought something was “good” when it was good for them; something’s good when we can use it, or sell it, or trade it for something else; we become the standard for what’s considered “good.” I cannot help but think of how often I called my dear dog Judah a good boy simply because he obeyed me!

So perhaps it’s time to notice again (or for the first time) that all but one of the declarations of goodness in the first chapter of Genesis occur before humans even existed. Six out of seven times, God’s creation is declared good without any reference to human beings.

The whole creation itself is thoroughly good—whether it’s useful to us or not.

Well, that’s rather rude, isn’t it? Don’t we count for anything? Yes, we do, and much more so than most of us have dared to imagine—and sometimes more than we want to believe. To be described as “very good”—as humans were in that story—comes with some responsibilities.

John of Damascus, a monk and theologian of the seventh century, was embroiled in what came to be known as the “iconoclast controversy.” This was a vigorous debate about whether it is appropriate to have icons, or visual images, in churches.

John was an ardent supporter of icons and actually cited a familiar verse from Genesis to support his case: “And God said, ‘Let us make humankind in our image…”

John would have been reading the Greek version of that passage, and in Greek that phrase—“in the image of God”—reads as the icon of God.

The human face as an icon of God! Shouldn’t this take our breath away? My face, and your face, and every single human face we see, all of them, icons of the God who made us!

And so, John of Damascus says, if you degrade and denigrate and reject visual images, you offend the artist—and in this case, the artist is God.

I think a lot these days about the visual arts, living and working as I do on what many call the “arts coast” of Michigan. We Christians actually have a lot to say and to offer, from our own Christian traditions, about the importance of visual images, the spiritual depth of art as it connects us to Creator God, the very source of creativity itself.

We might also note, rather urgently, that the stakes are rather high in this shared artistic endeavor with God. John of Damascus goes on to note something else about that familiar passage in Genesis. We are created not only in the image but also the likeness of God.

Those are not the same words; in fact, in Greek the word “likeness” is not a noun but a process, not a state of being but a state of becoming.

We are created in God’s image, yes, but we’re still on the way toward God’s likeness.

To be human is to be engaged in a profound process of assimilating to God, of resembling the One who made us, of being constantly formed and transformed into the divine creatures God intended to make from the very beginning.

The choices we make in this life shape the course of that journey; that’s why the stakes are so high, and that’s why visual artists can help us.

Visual artists can help us see at least a bit more clearly the imprint of God not only in our own faces, but also in the faces of those who are different from us, even different species, and in Earth herself. And by seeing more clearly the presence of God all around us and among us and in us and in each other, hopefully we will act and live differently.

As we launch into June, LGBTQ Pride Month, we need to see just exactly how high the stakes are for the varieties of gendered sexualities in the human race. Beyond the usual platitudes—“love is love” or “we embrace diversity”—we need to see much more clearly that those who do not conform to the standards of White Patriarchy are increasingly at risk of serious physical harm, especially with easily accessible firearms.

This risk pertains no matter where we happen to live or work or play in this country, from shopping malls and suburban streets, to national parks and urban office buildings—and this risk continues for black and brown people, just as it always has been present for women.

And still, it was good.

Everything depends on the goodness of God’s creation, and therefore on the goodness of God—a divine goodness in which we are invited to participate ever more fully.

That’s a key word—participation—for a celebration of the Trinitarian character of God. Rather than some abstract metaphysical doctrine, affirming God as Trinity is meant to draw us ever deeper into the never-ending mystery of God’s own life of self-giving, reciprocal love.

Returning to John of Damascus for a moment, he used a mostly untranslatable Greek word to describe this Trinitarian mystery of God—the word is perichoresis.

Some scholars have noted that there is at least a trace of our word “choreography” in that Greek term. John apparently was inviting us to think about the Trinitarian relationships of God like a cosmic dance—and if you’ve ever been swept away by the alluring rhythms of a tango or the gracefulness of a waltz, the energy often spills off the dancefloor and you can feel it pulsating across your skin, rumbling in your muscles, your heartrate rising.

And that, John of Damascus said, is how God creates. The creative energy and fertile relationality of God’s own life just spills over, as it were, and the whole Universe comes into existence—the whole cosmos itself as an unimaginable dance of evolving, changing, glorious life.

That mutual and eternal exchange of divine energy among the divine persons makes it impossible to tell the dancers from the dance and the dance itself is endless, deathless love—that’s the Holy Trinity, a doctrine that could actually change the world!

The very source of creativity itself is swirling all around us and in us and among us—our very faces the ikons of Creator God as we journey into God’s own likeness, from one degree of glory to another—world without end!

Now…let’s live as if this were true.

Tag: Holy Trinity

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