by Marcella Kearns, MCT Education and Literary Manager
Labyrinth at Chartres Cathedral in France |
In the 1990s, the labyrinth, an ancient spiritual symbol
with roots around the globe, enjoyed a resurgence and renaissance in disparate
communities of retreat, healing, and faith. Now, with Greg Pierce’s SLOWGIRL,
MCT brings its own labyrinth to the Milwaukee stage. Both literally and
figuratively, Pierce etches a labyrinthine journey into the heart of his piece.
For your enjoyment, here’s a primer on this evocative symbol.
Significantly for the play, labyrinths and mazes aren’t the
same beast. This separation is critical, though the two are so often equated
the difference is usually lost. Mazes are “multicursal,” with many paths, and
tend to puzzle or trap those who enter. Sometimes, it’s a mortal affair, like
the most famous maze of western lore—the Minotaur’s maze in Crete, into which
King Minos sent tributes of young Athenians for the monster to devour. The
challenge of most mazes isn’t so mortally risky a quest, though recent young
adult book and film franchises are capitalizing on that conceit. Still, the
maze, by definition, presents the potential for failure given its twists.
A labyrinth, on the other hand, has only one path. Ari Berk
paraphrases Hermann Kern’s complex definition so:
…a true labyrinth is a structure or
design whose path can assume numerous forms, but cannot intersect itself. There
are no choices for the traveler. You must enter and exit in the same place.
Also, your path will fold back on itself, changing direction frequently, and
will fill the entire space within its boundaries. It will move you temptingly
past the center and then away again before leading you, eventually, to the
center. (16)
Labyrinth in East Hardwick, Vermont
|
The design of the Chartres Cathedral labyrinth in France
fits this definition beautifully. A rosette with six sides forms its heart,
around which multiple curves radiate in four directions and loop back on
themselves. One entrance, like the stem of a flower, doubles as its exit. Built
into the floor of the cathedral in the early 1200s, the labyrinth served as a
pilgrimage-in-place for Christians who couldn’t make the trek to the Holy Land.
Today, copies of the Chartres design and simpler models, which have bloomed as
painted canvas, stone in grass, inlaid stone inside and outdoors, and even
finger-tracing sculpture, can be found in multiple locations across the United
States. Several of Milwaukee’s faith communities boast their own portable or
inlaid design.
Walking a well-constructed labyrinth is a simple but
potentially powerful form of meditation, if not for indefinable spiritual
benefit, at the very least for mathematical satisfaction. A guide published by
St. Mary Catholic Faith Community in Hales Corners suggests that a pilgrim
walking the labyrinth considers three phases in her walk: purgation (letting go
cares and concerns), illumination (being open to receive what is there at the
center), and union (bringing a refreshed spirit back to the world). The single
path allows opportunity for contemplation at this level or simple enjoyment of
order, of beauty.
Minotaur's maze |
It’s this design which Greg Pierce conjures as a central
symbol—and, arguably, plot structure—in SLOWGIRL. The character Sterling,
played by Peter Reeves, has exiled himself from the United States and taken up
residence in Costa Rica. He has built himself a labyrinth, a place of
contemplation, order, and retreat. His teenage niece Becky (Sara Zientek)
encounters the labyrinth without the same reverence, but possibly with the same
level of need. The estranged family members, two pilgrims untangling the most
difficult events of their own lives, couldn’t be more different, but the
labyrinth calls them both.
What will happen? No spoilers, but optimism recalls the
sweet secret of a labyrinth. As contemporary spiritual practitioners maintain,
one who chooses to enter the labyrinth can’t get lost. There are no wrong
turns. There are no dead ends. The fundamental choice is the choice to enter. As long as he enters, and keeps walking, he will reach the center of the labyrinth
and its secret heart. Then, as long as he keeps on walking, he will come out again.
A comforting thought.
References
Anonymous. “The Labyrinth at St. Mary Catholic Faith
Community.” Pamphlet.
Berk, Ari. “The Dance of the Labyrinth is twisting, turning,
and timeless.” Realms of Fantasy October
2004: 16-24, 88-89.
Curry, Helen. The Way
of the Labyrinth: A Powerful Meditation for Everyday Life. New York:
Penguin Compass, 2000.
Hamilton, Edith. Mythology:
Timeless Tales of Gods and Heroes. Boston: Little, Brown & Company,
1942.
Heinen, Tom. “For many, a walk through a labyrinth evokes a
circuitous spiritual journey.” Milwaukee
Journal Sentinel 13 April 1998: 1A, 8A.
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