Abstract

In this article I build on recent critiques of theological accounts of the eucharistic which overextend the practice's potential to form a Christian ethic and alternative polis. In analysing these critiques, often drawing on historical and contemporary cases of Christian malformation and its basis in liturgical practice, I suggest a greater distinction is needed between the practice's ability to raise political consciousness and the necessity of separate material political action. I approach this reconfiguration through appeal to debates on the political efficacy and responsibility of art, focusing in particular on contemporary German theatre director, Thomas Ostermeier and his influential production of Henrik Ibsen's An Enemy of the People. Ostermeier distinguishes theatrical performance from material politics, while still demonstrating how theatre might enact a repoliticisation, provoking audiences to think beyond the story on stage to the world beyond where they live and try to act. Connecting the theological critiques with Ostermeier's work, I offer three areas in which a reconfiguration of the relationship between the Eucharist and Christian ethics might focus: depristinising in practice, disrupting catharsis, and being sent. These theatrical interventions allow for clearer recognition of the practice's ethical and political limits and potential.