This paper explores the intersection of Gabriel Marcel’s philosophy and the concept of “Tajalli” (Manifestation) in Islamic mysticism, focused on dramaturgy. Marcel, a Christian philosopher and playwright, provided a unique perspective on existential and religious themes, which this research seeks to integrate with the mystical notion of manifestation, specifically within the framework of Islamic thought. The study addresses how Marcel’s philosophical ideas can inform the dramaturgy of mystical experiences, particularly the manifestation of divine attributes in dramatic characters. This is especially relevant in understanding how deep spiritual experiences, such as Tajalli, can be represented within the theatrical domain. The central question the article seeks to answer is: How can Gabriel Marcel’s existential philosophy be applied to the dramaturgy of the concept of manifestation in a dramatic text? The primary objective of this research is to examine the challenges and opportunities that Marcel’s thought offers for dramatizing mystical concepts, particularly in the context of manifestation. The hypothesis posits that Marcel’s concept of secondary reflection—moving beyond superficial, materialistic contemplation to a more profound, spiritual understanding—can be employed in dramaturgy to create characters who experience and embody manifestation. The research employs a library-based, analytical-interpretive method, relying on a reading of both Marcel’s philosophical works and Islamic mysticism texts. This method allows for an in-depth exploration of the intersections between philosophy, mysticism, and dramaturgy, with a particular focus on the dramatic potential of mystical experiences. The study uses Marcel’s play *Grace* as a case study to demonstrate how the manifestation process can be articulated dramatically. The paper begins by outlining the key concepts of Gabriel Marcel’s philosophy, particularly his distinction between primary and secondary reflection. Primary reflection is characterized by objectivity and scientific reasoning, while secondary reflection is deeply personal, existential, and concerned with the mystery of being. Marcel’s emphasis on interpersonal relationships, embodiment, and the encounter with the “Other” provides a framework for understanding the mystical journey in dramaturgical terms. The concept of manifestation in Islamic mysticism, particularly within the writings of mystics, refers to the appearance of divine attributes in the hearts of mystics. The manifestation is not a mere intellectual understanding but an experiential reality that transforms the mystic’s perception of the world. This paper argues that Marcel’s secondary reflection can serve as a bridge between the intellectual and the experiential dimensions of mystical manifestation in dramaturgy.
One of the key challenges discussed in this research is the modern world’s shift away from mysticism and spirituality, driven by rationalism and technical thinking. Marcel’s philosophy addresses this “demystification” of the world by emphasizing the importance of existential inquiry and interpersonal relationships in reclaiming a sense of mystery. In the context of dramaturgy, this challenge manifests in the difficulty of representing spiritual experiences in a way that resonates with contemporary audiences. The paper explores how Marcel’s thought can help overcome this challenge by creating characters who transition from a materialistic worldview to one open to the mystery of being and divine manifestation. Marcel’s dramaturgy is deeply rooted in his existential philosophy. He believed that the purpose of drama is not merely to entertain but to reveal profound truths about the human condition, particularly the relationship between individuals and the divine. His plays often feature characters who undergo a process of spiritual awakening, moving from a state of existential despair to one of hope and faith. This process mirrors the concept of manifestation in Islamic mysticism, where the divine presence manifests in the heart of the mystic through a transformative journey. In applying Marcel’s ideas to the concept of manifestation, the paper discusses how dramaturgical techniques can be used to depict characters who experience the divine in a tangible, experiential way. Marcel’s distinction between primary and secondary reflection provides a useful tool for dramatizing the shift from a superficial engagement with the world to a deeper, more spiritual understanding. Characters who initially engage with the world in a materialistic or rationalistic manner can, through the play, undergo a transformation that leads them to a mystical experience of manifestation. To illustrate these ideas, the paper provides a detailed analysis of Marcel’s play “Grace”. The play revolves around themes of forgiveness, suffering, and spiritual transformation, all of which are central to the notion of manifestation. The character of Gerard, who is grappling with terminal illness, undergoes a profound spiritual awakening that mirrors the mystical concept of Tajalli. His suffering serves as a catalyst for a deeper understanding of his relationship with God and the people around him, leading to an experience of divine manifestation. Through this case study, the paper demonstrates how Marcel’s dramaturgical approach can be applied to the representation of mystical experiences. The characters in *Grace* are not merely vessels for philosophical ideas; they are deeply human figures whose spiritual journeys are grounded in their personal relationships and struggles. This reflects Marcel’s belief that existential and spiritual truths are best understood not through abstract reasoning but through lived experience.
The findings of this research suggest that Gabriel Marcel’s existential philosophy offers valuable insights into the dramaturgy of mystical concepts, particularly the concept of manifestation. By applying Marcel’s distinction between primary and secondary reflection, dramaturges can create characters who undergo a transformative journey toward spiritual awakening. This process mirrors the mystical experience of Tajalli in Islamic mysticism, where the divine manifests in the seeker’s heart. Moreover, Marcel’s emphasis on interpersonal relationships and the lived experience of mystery provides a framework for overcoming the challenges of representing spiritual experiences in modern dramaturgy. By focusing on the existential struggles of characters and their encounters with the divine, dramaturges can create plays that resonate with contemporary audiences while preserving the depth and complexity of mystical experiences. Ultimately, this paper argues that integrating Marcel’s thought with the concept of manifestation in Islamic mysticism offers a powerful tool for exploring spiritual themes in the theatre. Through the dramaturgy of manifestation, plays can move beyond the limitations of rationalism and materialism to engage with the mystery of being and the possibility of divine encounter.