Why do good people suffer or why do bad things happen to good people? ” This question seems to be very common these days. It seems as though good people get the brunt of all suffering, while evil-doers enjoy life. But if we observe closely, we see that everyone undergoes suffering in some form. Keeping this in mind, our question becomes meaningless. Just because a person is good does not mean there would be no suffering in his/her life. But what do we mean by „good?? In Sanskrit, „sadhu? is the word used for a good person.
Sadhu comes from the word „saadh? , meaning „to accomplish?. If we work for ourselves and achieve great things, there is nothing laudable about it, but if we help others to achieve their goals, then it is an accomplishment. If someone is good to you and you reciprocate, that is common courtesy. But if someone is harming you, and despite that you continue to wish that person well without expecting anything in return, it is real goodness. A sadhu bathing in the river saw a drowning insect. He saved it from drowning and was stung in return.
Again, the insect fell back into the river and the sadhu pulled it out of the water and placed it under a shady tree. On seeing this, a person asked the sadhu, “Why did you do that? ” He replied, “The insect did not give up its nature, so why should I? ” How can we achieve this goodness in our lives? To reach any target, we must first have a goal. Similarly, for achieving goodness, we must have a standard of goodness which is known to us, because only then can we rise up to the required levels.
As long as we see differences in the world around us, true goodness will not manifest. This can be achieved only when we become aware of our oneness with others. An example will illustrate this point better. Every organ of my body is part of one whole. If the finger goes into the eye, there is instant forgiveness, because of the complete identification with the finger. Now that we know what is good, let us see what suffering is. Objective suffering befalls all people, good or bad. Situations leading to suffering could have their roots in past actions.
Objectively, the existence of pain or any other physical handicap cannot be denied, but the degree of sorrow this leads to is entirely subjective. Riches or positions of power do not guarantee happiness. People become miserable over small matters. If a person claims that he is good and is suffering, while the dishonest person is flourishing, we can be very sure that the person is not good. For a good man, the real suffering is to do something against his convictions. Suppose a pure vegetarian is faced with a situation of remaining hungry or eating beef, the chances are that the former option would be more acceptable.
All our spiritual practices cannot eliminate suffering, but they protect the mind and make suffering acceptable, just as on a rainy day, we cannot stop the rain, but can protect ourselves from getting wet with an umbrella. Bhagavan Krishna says, “A good person never suffers. ” By some logic we feel that suffering and enjoyment is related to past actions. If we observe at the subtle level, we find immediate results of our actions. The moment a good thought enters our mind, we feel elation, and similarly a wicked thought causes agitation.
Real suffering is when we lose our goodness. Compromising with goodness is the greatest suffering. Even though superficially it may appear that evil doers are flourishing, it should not be an excuse to compromise. The problem arises when one does not have an ideal or when one is not able to live up to one? s ideal. But the greatest problem is when one believes that the ideal is not worth living up to and has lost its utility. Remember, a good man will stand by his convictions, because “If you do not stand for something, you will fall for everything. ”
WRITING ASSIGNMENT: Critical Theatre Review (Lenin’s Embalmers) A
WRITING ASSIGNMENT: Critical Theatre Review (Lenin’s Embalmers) A.
WRITING ASSIGNMENT: Critical Theatre Review The purposes and aims of this assignment: The practice of critical thinking and writing. Obtaining skills for critical analysis of dramatic text and theatre production. Ability to raise critical questions by engaging with the dramatic text/production. Format and Rules -Length: approximately 1000 words -Written assignments should be typed, with the format of double-spaced, one-inch margins, 12-point font, Times New Roman font, and page numbers. Papers will be graded on writing and content. On the top right corner put your full name, your student ID, class name and number, and the date. -Due date: 11:00AM on November 6th, Tuesday. Papers must be printed on only one side of the page and submit in Class, AND submit on E-Class (format: Word Doc) by 11:00AM on the specified date. -Printed papers should be stapled in the upper left corner. Staple your ticket for the Lenin’s Embalmers with your paper. Late submission will be docked one letter grade, and will not be accepted after one week. -Good writing is important to deliver your argument as well. Construct the outline of your review before writing and review your paper if the argument is clear and supported well (do not submit the first draft). Contents and Expectations The task is to write a critical theatre review of the Lenin’s Embalmers which you watched. “Critical theatre review” will show your thorough engagements with diverse aspects of the performance, with a clear argument supported by your analysis. 1) Write about your observations and experiences: what you watched (“Inner Frame”) in the production. Compare with your reading of the play. Every production makes their statement (for instance, “what this play means, what aspects of this play have to be emphasized, how this play is relevant to the current circumstances, etc), by presenting their artistic choices of the theatre elements. What are the artistic choices which this production made? What are the stage elements worth mentioning in your theatre review? Focus on certain aspects which are significant regarding how this production interprets and realizes the spine of the play. For instance, the use of sign language was the major intentional choice in Red Torch Theater’s The Three Sister. What does this choice tell about the play? In Lenin’s Embalmers, the director told that many other productions used a fake body for the embalming scene. If the use of actor of Lenin in the embalming scene is an intentional and significant choice in this production, how does it serve to represent the core of the play? Like this, consider theatre signs and elements: Stage design, Lights, Sounds, Movements/Acting, Arrangement of the actors (spatial occupations), Casting, Costume, Audience engagement, After the performance (the body exhibition after the performance), etc. If you think there are important factors of the outer frame for making meaning of the performance, you may discuss that as well. For instance, how your knowledge of the play text, knowledge of theatre history, your cultural/social backgrounds influence your experience and interpretation of the performance? 2) Meaning-Making. Considering both the world of the play text, and the inner frame and outer frame in the production, make your argument regarding following questions: What are the spines (cores) of this play and this production? What are the questions raised by this play/production? What is the artistic vision of this production? How did the artistic choices effectively realize the spine/core of the play? You do not have to follow the format of a reputable review. You can use professional reviews as your references, and you should structure your review considering what is worth describing, how you interpreted certain aspects, and what is your argument and how you would support your statement. The questions I listed in a blue box in the lecture slide (Oct 9th) are things you might consider in your theatre review/analysis.
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