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Journal articles on the topic 'Balthasar, Hans Urs von, Religion and drama'

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Published: 4 June 2021

Last updated: 14 February 2022

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1

Havenga, M. "Justice as Beauty-in-Action? Insights from Hans Urs von Balthasar’s Aesthetics and Dramatics." Acta Theologica Supp, no. 29 (November 30, 2020): 37–49. http://dx.doi.org/10.18820/23099089/actat.sup29.3.

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This essay explores the relation between beauty and justice by turning to the thought of the Swiss Catholic theologian Hans Urs von Balthasar. It begins by giving an exposition of Balthasar’s theological aesthetics, as developed in his work The glory of the Lord, which shows how, for Von Balthasar, earthly beauty participates in, and expresses something of God’s divine glory and reaches its apex in the revelation of the beautiful form of Jesus Christ. This is then followed by an exposition of Von Balthasar’s theological dramatics, as developed in his work Theo-drama, which shows how, for Von Balthasar, this beautiful form of Christ is not merely a static image, icon, or artwork but, in fact, a dynamic event, a dramatic act, an embodied performance which reveals to us, along with God’s glory and beauty, God’s unbounded goodness. The essay subsequently turns to questions of justice (in light of Von Balthasar’s understanding of the relation between beauty and goodness), and ultimately argues that, according to Von Balthasar’s thought, justice can be viewed as a form of beauty-in-action that asks to be performed in the world.

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2

O’Callaghan, Paul. "Can God be Enriched? On the Metaphysical Underpinnings of Von Balthasar’s Theology." Irish Theological Quarterly 84, no. 2 (February 27, 2019): 175–94. http://dx.doi.org/10.1177/0021140019829323.

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Hans Urs von Balthasar, in his work Theo-drama, on the basis of the profound, Christologically based bond between the Trinity and the created world, speaks of the possibility of God being ‘enriched’ by creatures. The study considers his explanation and justification of this position. It goes on to present the position of a variety of authors who favour Von Balthasar’s view on the basis of a more ample idea of ‘being’ that includes receptivity and donation. Others however point out that the ‘enrichment’ of God would place potency and change in the divinity, and thus should only be spoken of in metaphorical terms. Receptivity would only be a perfection in created being, not in God.

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3

Sachs, John R. "Theo-Drama: Theological Dramatic Theory, vol. 1, Prolegomena. Hans Urs von Balthasar." Journal of Religion 71, no. 2 (April 1991): 305–6. http://dx.doi.org/10.1086/488645.

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4

McIntosh, Mark A. "Theo-Drama: Theological Dramatic Theory. Vol. 4, The Action. Hans Urs von Balthasar , Graham Harrison." Journal of Religion 76, no. 3 (July 1996): 491–93. http://dx.doi.org/10.1086/489829.

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5

Emerson, Matthew Y. "‘The one who trampled Hades underfoot’: a comparative analysis of Christ's descent to the dead and trinitarian relations in second-century Christian texts and Hans Urs von Balthasar." Scottish Journal of Theology 72, no. 03 (August 2019): 277–90. http://dx.doi.org/10.1017/s0036930619000334.

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AbstractIn both Theo-Drama IV and Mysterium Paschale, Balthasar suggests that the descensus existentially separates the divine hypostases of Father and Son. He also repeatedly argues that his position is faithful to the Great Tradition. While there has been much debate about Balthasar's view of the descensus, this debate has focused mostly on the issues of universalism and penal substitution, leaving the issue of trinitarian relations either to the side or without an analysis of its historical precedent. This article attempts to address this lacuna by asking whether Balthasar's view of the descensus is in fact supported by the Great Tradition, with a specific focus on second-century texts. After surveying the apostolic fathers, second-century Jewish and Christian traditions (e.g. the New Testament apocrypha), second-century apologists and Melito's Peri Pascha, the article concludes that Balthasar's position does not find historical support in the second century. His view may be in line with the Great Tradition elsewhere, but it is not grounded in this seminal century of Christian doctrinal reflection.

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6

Situmorang, Markus. "MENDALAMI DOKTRIN TRINITAS DALAM PANDANGAN HANS URS VON BALTHASAR." Studia Philosophica et Theologica 18, no. 2 (December 7, 2019): 161–77. http://dx.doi.org/10.35312/spet.v18i2.26.

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All the Hans Urs von Balthasar theology is the Trinity. For him everything flows from interpersonal relationships in the Trinity. The starting point for understanding the Trinity must depart from the event of love. Jesus is a manifestation of God’s love that appears to humans. God’s love is beautiful. Jesus revealed the beauty of the Triune God. The fundamental aspect of beauty is obedience from Jesus. Jesus as the beauty that manifest the Father and the Holy Spirit. We will not be able to understand the beauty of Christ without referring to inter-Trinitarian beauty. It does not stop at mere beauty but God is involved in the history of human life. In other words, God is involved in drama with humans. On the Good Friday, there was a drama between God and the world on the cross. But a more dramatic drama took place on Holy Saturday. Drama also occurs in the life of the Trinity. The three divine persons empty themselves which are united in a bond of love. The real kenosis occurs in a triune life. The Trinity lives in the Church and maintains the Church. The church’s teachings are undeniable because of the truth of the Trinity itself. Seluruh teologi Hans Urs von Balthasar adalah Tritunggal. Baginya segala sesuatu mengalir dari relasi antar pribadi dalam Tritunggal. Titik tolak untuk memahami Tritunggal harus berangkat dari peristiwa kasih. Yesus adalah wujud kasih Allah yang tampak kepada manusia. Kasih Allah sendiri sangat indah. Yesus mewahyukan keindahan dari Allah Tritunggal. Aspek fundamental dari keindahan itu yakni ketaatan dari Yesus. Yesus sebagai keindahan yang mewahyukan Bapa dan Roh Kudus. Wujud dari Yesus mengacu kepada wujud dari Allah dalam diri-Nya sendiri.Trinitas seperti cinta di dalam dirinya sendiri. Kita tidak akan dapat memahami keindahan Kristus tanpa mengacu pada keindahan inter-Trinitaris. Tidak berhenti pada keindahan semata tetapi Allah terlibat di dalam sejarah kehidupan manusia. Dengan kata lain Allah terlibat drama dengan manusia. Pada peristiwa Jumat Agung terjadi drama antara Allah dan dunia di kayu salib. Namun drama yang lebih dramatis terjadi pada Sabtu Suci. Drama juga terjadi juga di dalam kehidupan Tritunggal. Tiga pribadi ilahi saling mengosongkan diri yang disatukan dalam ikatan cinta. Tritunggal itu yang hidup di dalam Gereja dan memelihara Gereja. Ajaran-ajaran Gereja tidak terbantahkan karena kebenaran Tritunggal itu sendiri.

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7

Dewa, Anton. "Teologi Inkarnasi dan Gereja Yang Inkarnatoris menurut Hans Urs von Balthasar." Media (Jurnal Filsafat dan Teologi) 2, no. 1 (March 3, 2021): 25–59. http://dx.doi.org/10.53396/media.v2i1.18.

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The uniqueness of Balthasar's theology of incarnation lies in the fact that he bases his arguments of kenosis primarily on the Bible and the theology of patristics. On this basis, he confronts the systematic theological exposition of incarnation with the question of God in modern times. Balthasar represents the centre of his theological principle in the "drama of God". This drama became visible to all men when Christ, Son of God, died for the salvation of the world. That is an act of solidarity and became for Balthasar the central concept of soteriology. Based on the incarnation of Christ, Balthasar calls the church to a living practice of kenosis in her missions.

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8

Havenga, Marnus. "Christ as performance." STJ | Stellenbosch Theological Journal 6, no. 4 (January 22, 2021): 139–58. http://dx.doi.org/10.17570/stj.2020.v6n4.a6.

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This essay will explore Hans Urs von Balthasar’s Christology as performance from below. It will begin by introducing Balthasar’s theodramatic project as presented in his five-volume work Theo-drama. Here, it will be shown how Balthasar engages with and uses the conceptual resources of drama and the theatre to develop a theological dramatic theory with the performance of Christ at its very centre. This will be followed by an investigation into Balthasar’s dramatic Christology and what he saw as the re-performance of the Christ-drama on the world stage. The essay will then conclude with a few brief remarks on the continued relevance of Balthasar’s dramatic Christology, especially for those interested in doing – and performing – theology from below.

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9

Koerpel, Robert. "The Form and Drama of the Church: Hans Urs von Balthasar on Mary, Peter, and the Eucharist." Logos: A Journal of Catholic Thought and Culture 11, no. 1 (2007): 70–99. http://dx.doi.org/10.1353/log.2008.0007.

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10

Gillespie, Charles A. "Theodramatic Themes and Showtime in Nassim Soleimanpour’s White Rabbit Red Rabbit." Religions 11, no. 10 (September 29, 2020): 499. http://dx.doi.org/10.3390/rel11100499.

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This essay engages the experimental playwright Nassim Soleimanpour’s White Rabbit Red Rabbit alongside the theological dramatic theory of Hans Urs von Balthasar. Every Soleimanpour play can only happen once. Actors receive the script as they begin the show; any given actor must perform Soleimanpour’s drama as a cold reading unique in history. I propose “Showtime” to theorize this theatrical temporality, exemplified by White Rabbit Red Rabbit and shared by von Balthasar’s theology, on analogy to stage space. This article further examines the play’s themes of identity, self-sacrifice, free obedience, and writing about time through a “theodramatic structural analysis” keyed to von Balthasar. Soleimanpour expands Balthasarian theodramatics in unexpected and unintended directions. So too did the performance of White Rabbit Red Rabbit I attended in 2016 that featured Wayne Brady as the actor. This essay concludes with analysis of that performance and how it places this essay’s theodramatic structural analysis into contexts of race and the history of anti-Black racism in the United States.

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11

Thusgård, Esben. "Dramatisk teologi – en introduktion af Raymund Schwager." Dansk Teologisk Tidsskrift 72, no. 1 (May 17, 2009): 18–33. http://dx.doi.org/10.7146/dtt.v72i1.106448.

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This article introduces the Swiss/Austrian catholic theologian Raymund Schwager (1935-2004) to a Danish audience. It is argued that Schwager’s dramatic theology offers a coherent model for interpreting the paradoxes in Christian faith. How can God be described as both constructive and deconstructive, as both merciful and full of anger? Combining Hans Urs von Balthasar’s conception of drama and René Girard’s theory of mimetic desire and scapegoating, Schwager formulates a theology, where the vertical aspects of reconciliation do not overshadow the horizontal aspects, and viceversa. The action of God in Christ meets human reaction in a balanced way. The drama contains five acts: 1. Jesus proclaims the Kingdom of God; 2. The rejection of Jesus’ preaching; 3. The judgment of Jesus and his crucifixion; 4. Resurrection as the reaction of the Father; 5. The new gathering. The perspective, provided by the drama, makes it possible to integrate themes, which otherwise seem without any relation, for in the drama, as well in our lives, everything is interrelated and interdependent. A dramatic view on the revelation thus clarifies how action is succeeded by reaction: God speaks and human beings respond.

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12

Szalay, Mátyás. "Megjegyzések a nemiség drámáját illetően (1.)." Studia Theologica Transsylvaniensia 23, no. 1 (June 15, 2020): 91–136. http://dx.doi.org/10.52258/stthtr.2020.1.05.

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This philosophical meditation on the drama of bodily existence and sexual identity intends to explain and complement the reflection of Ricardo Aldana, who considered these issues from the Communio-theology point of view represented by Hans Urs von Balthasar and Adrienne von Speyr. The main claim to be exposed and phenomenologically corroborated is that the horizon of correctly interpreting the phenomenon of bodily existence is an existential and dramatic encounter with the Trinitarian reality. The context of an adequate response to one’s unique and sexual bodily existence is predetermined by Mary’s “Fiat!” and Christ’s redemptive sacrifice; these two yeses to divine love created the possibility for a radical freedom to embrace creation when it comes to the gift of bodily existence. The dramatic nature of our fundamental relationship with the body is characterized in two steps: first, by analyzing the paradoxes of how the body is given to us; and second, by argu- ing that the drama of being exposed to bodily existence can lead us through bodily self-gift (sacrification) and care for the (bodily existing) other to the discovery and contemplative appreciation of the body.

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13

Garrett, Stephen M. "Captivating the Captive Mind: Challenges Facing Theological Education in Post-Communist Society." International Journal of Public Theology 10, no. 1 (February 29, 2016): 68–92. http://dx.doi.org/10.1163/15697320-12341429.

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The Lithuanian born, Polish poet and 1980 Nobel laureate, Czeław Miłosz, penned a classic work, The Captive Mind (1951), detailing the allurement and existential crises the intelligentsia faced under Soviet totalitarianism. For many in post-communist societies, social realism fits well with varying forms of democratic capitalism’s privatization of faith. Consequently, little room remains for theological education beyond the limits of institutional religion. Reductionistic accounts of human personhood and views of God as absent are central to this social imaginary. The challenge for Christian theology is to address these matters creatively yet critically, communicating with charity an alternative narrative of human ontology. Hans Urs von Balthasar is one voice that does so through his theological personalism, rooted in the economic missio of Christ’s trinitarian life. He offers a creative way of envisioning humanity as captivated and constituted by its dialogical encounter with God, being drawn into the theodrama of human society.

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14

Kalem, Hrvoje. "O nekim vidovima poimanja vjere u Hansa Ursa von Balthasara i Paula Tillicha." Diacovensia 26, no. 3 (2018): 383–404. http://dx.doi.org/10.31823/d.26.3.2.

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The question of faith can be approached under many aspects, but one thing is certain: in all these aspects faith is what touches our existence. Regardless of the path we take towards faith, it is crucial not to lose sight of the peak we are trying to reach. The article aims to point to two different approaches to the concept of faith that have their advantages and disadvantages. In the first part, the article discusses the thoughts on faith of the great Swiss Catholic theologian Hans Urs von Balthasar whose starting point is the belief that the object of revelation we adhere to must have a concrete form (Gestalt). Further analysis brings some basic aspects of understanding faith in the theologian’s thoughts. The second part discusses the understanding of the faith/religion of the German-American Protestant theologian Paul Tillich. His methodological approach to understanding faith is completely contradictory to Balthasar’s, but it also reveals some advantages, like emphasizing the importance of the situation in which the recipients of Christian message adhere to God’s revelation, as well as the very methodological approach to understanding faith which is more receptive for those who lack certain religious and theological knowledge and who are simply in search of God, as indicated by concluding remarks.

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15

Murphy, Francesca. "‘WHENCE COMES THIS LOVE AS STRONG AS DEATH?’: THE PRESENCE OF FRANZ ROSENZWIGS'S ‘PHILOSOPHY AS NARRATIVE’ IN HANS URS VON BALTHASAR'S THEO-DRAMA." Literature and Theology 7, no. 3 (1993): 227–47. http://dx.doi.org/10.1093/litthe/7.3.227.

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16

Clooney, Francis X. "By the Power of Her Word: Absence, Memory, and Speech in the Song of Songs and a Hindu Mystical Text." Exchange 41, no. 3 (2012): 213–44. http://dx.doi.org/10.1163/157254312x650577.

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Abstract Religious pluralism today surely poses an ongoing theological challenge, requiring us to think through the significance of the many religions of the world for Christians. But facing the challenge is more urgently the work of the imagination. Even the best theological solutions fall short if they block or ignore the deeper, required work of interreligious learning that occurs in the careful study of the poetry, dramas, and other literary productions of the various traditions. Using as a guide Hans Urs von Balthasar’s great trilogy — aesthetics, dramatics, and theologic — this essay is an exercise in reading together the Biblical Song of Songs along with the medieval Hindu Holy Word of Mouth (Tiruvaymoli) with special attention of the scenes of absence, wherein the human lover waits for the divine beloved to return. From both we learn that in waiting, there is anguish, but in anguish arise powerful memories about, and speech evocative of, the beloved. Each text is read also with attention to medieval religious interpretations. Practicing this dynamic across religious boundaries is an imaginative interreligious exercise that first causes a crisis for theology — where is the beloved? who are those other lovers and beloveds? what to do with the flood of new images and scenes? — yet then a new source for a Christian theology that redeems and deepens Christian particularity after and through, not despite, interreligious learning.

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17

ERP, STEPHAN VAN. "The Cambridge companion to Hans Urs von Balthasar. Edited by T. Oakes and David Moss. (Cambridge Companions to Religion.) Pp. xviii+282. Cambridge: Cambridge University Press, 2004. £45 (cloth), £16.99 (paper). 0 521 81467 7; 0 521 89147 7." Journal of Ecclesiastical History 57, no. 1 (January 2006): 188–89. http://dx.doi.org/10.1017/s0022046905386234.

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18

Polanco, Rodrigo. "Understanding Von Balthasar’s Trilogy." Theologica Xaveriana 67, no. 184 (October 9, 2017). http://dx.doi.org/10.11144/javeriana.tx67-184.uvbt.

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The article presents the structure of Hans Urs Von Balthasar’s thought from the synthesis he achieved in his “Theological Trilogy”: “Theological Aesthetics,” “Theo-Drama,” and “Theo-Logic”. Because the Trilogy is based on the three transcendentals of Being (beauty, goodness, and truth), this study—after reviewing Balthasar’s influences throughout his life—describes his understanding of the relationship between philosophy and theology and explains how the trinitarian revelation can be aptly expressed through God’s manifestation (beauty), bestowal (goodness), and comprehension (truth).

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