In "The Laughing Dead and the Lively (or was it lovely?) Virgin," the authors trace the relationships between theatre, ritual, circus and Christianity (Bosque 1). It examines the New Circus theatre in Chile. This can show how different cultures use Christianity in theatres, proving it exits to begin with. This idea offers an almost humorous look on the ritual of religion. It plays with the ideas of blurring the boundaries between life and theatre (Bosque 1).
To further prove Christianity exists in performance and theatre, we must search for the different forms that have been established. Wayang Wahyu is a Catholic form of shadow theatre (Poplawska 1). It presents a history of Christian theatre. This can further prove Christian theatre is more abundant and even exists. Marzanna Poplawska shows how the different forms of church politics are used in theatre in different cultures (Poplawska 1). This also focuses on the past decade's attention to the rising appearance of religion in such forms as anthropology and ethnology. This can add to the history of religion in theatre further ignoring atheism.
Park Honan in "Theatre and Religion: Lancastrian Shakespeare/Region, Religion and Patronage: Lancastrian Shakespeare," reviews two books comparing Shakespearian theatre to theories of religion. This could be helpful to add to the history of arising atheism and its association to theatre and performance. Shakespeare, as many like to study, uses much religious morality as he does non-religious morality. One does not need to be an atheist, theist or any deviation of belief in order to enjoy Shakespeare, however there is much religious influence upon his writings and stage... [continues]
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