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Relevant bibliographies by topics / Christian drama

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Academic literature on the topic 'Christian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Christian drama"

1

Yosia, Adrianus. "Wahai Pengikut Kristus, Mainkanlah Drama yang Mentransformasikan Itu!" Indonesian Journal of Theology 3, no. 2 (May 1, 2016): 185–205. http://dx.doi.org/10.46567/ijt.v3i2.56.

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This article calls Christians to engage in true, transformative action, in Indonesia. To attain to such an alluring provocation, I employ the theatrical ideas of Kevin J. Vanhoozer—namely his thought contribution of "the drama of doctrine"—which I propose finds a suitable complement in Miroslav Volf’s "prophetic religion"- descriptor of Christianity." The combination results in the constructive theopoetic composite I call "transformative drama"—namely, theatrical Christian action that effects change within and leverage impact upon the social locations of the transformative-active Christian.

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Copiz, Pietro. "The Drama of Christian Vocation." Renascence 41, no. 1 (1988): 81–90. http://dx.doi.org/10.5840/renascence1988/1989411/29.

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Al-Joulan, Nayef Ali. "Political Christianity in Renaissance Drama." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 65. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.65.

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Examining the following selected Renaissance dramas: Marlowe’s The Jew of Malta (1585), Shakespeare’s The Merchant of Venice (1596), Massinger’s The Renegado (1624), Daborne’s A Christian Turn'd Turk (1612), and Goffe’s The Raging Turk (1656), this research investigates Renaissance dramatists' portrayal of biased Christian standpoints that govern the relation with the non-Christian to uncover whether that dramatization represents the playwrights' participation in validating those attitudes or their critique of politicizing the Christian faith, in both ways underscoring the existence of an ideological 'political faith' issue. It turns out that the period's plays may reveal that such stereotypes are only recruited to further and validate financial gain, political dominance and racial discrimination; that is, political Christianity. However, the playwrights' attitudes remain subject to their unrevealed intentions, and it is, therefore, left to the reader/audience to take sides. Tactically, the dramatists emerge ahead of the Christian and secular politicians of their time as they assume the safe side of impartiality.

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Block, E. "BRIAN FRIEL'S FAITH HEALER AS POST-CHRISTIAN, CHRISTIAN DRAMA." Literature and Theology 14, no. 2 (June 1, 2000): 189–207. http://dx.doi.org/10.1093/litthe/14.2.189.

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McDonald, Janet. "Boys at Gender-Play inside the Muscular Christian Ideal." Boyhood Studies 1, no. 1 (March 1, 2007): 84–94. http://dx.doi.org/10.3149/thy.0101.84.

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In elite boys’ schools there is a level of anxiety about the perceived place of the curricular subject drama and how it might interact or interfere with the ironclad essentialist and homogenous masculinity promoted by elite all-boys’ schools. The feminization of the drama and the suspicion of males who “do drama” create a duplicitous tension for boys who take the subject as they walk the gendered tightrope between the expected public display of the “muscular Christian” and the tantalizing “drama faggot.” This paper offers some reflections about observations on and interviews with boys who “do drama” inside the male-only worlds of the Great Public School (GPS) of Brisbane, Australia. In these schools I observed masculinities were constantly disrupted (perhaps uniquely) in the drama classroom and explored by male drama teachers who provided a space in which to playfully interrogate the “muscular Christian ideal” of a boys’ school.

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Ter Ern Loke, Andrew. "Theology and Philosophy of Religion in Richard Wagner’s Parsifal." Neue Zeitschrift für Systematische Theologie und Religionsphilosophie 62, no. 3 (September 8, 2020): 372–88. http://dx.doi.org/10.1515/nzsth-2020-0019.

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SummaryThe interpretation of Richard Wagner’s music drama Parsifal has been one of the most philosophically and theologically controversial. Over the years various interpretations have been given, among them Buddhist, Schopenhauer-ian, anti-semite, and Christian. In this paper, I argue that this music drama is fundamentally a Christian work. I begin by discussing some methodological and background historical issues. I consider difficulties concerning bias in interpretation and the complicated intellectual life of Wagner, and propose to overcome these difficulties by testing various interpretations by their consistency with various parts of the music drama, and to interpret the statements of this music drama within that context. I then argue that Parsifal reflects the soteriological concepts of sola gratia, sola fide and solus Christus that are unique to Christianity but inconsistent with other interpretations. Finally, I address various objections to my Christian interpretation.

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Jaffe-Berg, Erith. "Drama as Disputation in Mantua." Medieval Encounters 24, no. 5-6 (December 3, 2018): 666–79. http://dx.doi.org/10.1163/15700674-12340036.

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AbstractThe Jewish community of Mantua in Italy, a vibrant cultural center for Jews, performed plays for the Christian community from at least as early as 1520. During the 150 years of continuous theatre production, there were no public disputations in Mantua even though residents of Mantua often partook in debates elsewhere. This essay argues that theatre functioned as a forum for disputation in Mantua supplanting the need for a formal tradition of disputation. Theatre provided a context for the exchange in ideas about social functioning within each community, and it enabled Jewish community members to air ideas about the value of Jewish ideals in relation to Christian ideals. As soon as the Jews ceased producing theatre for their own community and for the Christian community, disputation began. Therefore, it appears as if the absence of theatre as a public forum for exchange made it necessary to have recourse to disputations.

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Worms, Katharina. "Zukunftsermittlung im Barockdrama." Daphnis 51, no. 1 (March 10, 2023): 171–98. http://dx.doi.org/10.1163/18796583-12340080.

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Abstract This article deals with knowledge of the future in German drama of the 17th century. Within eight case studies the author focusses on scenes of predictions from Jacob Bidermanns Cenodoxus (1602, dt. 1635) to Christian Weises Marschall von Biron (1687). Open models of the future exist side by side with a deterministic understanding of time. However, also contemporary events play a role in the dramas, but they are not emphasized as present.

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Gogolin, Olimpia, and Eugeniusz Szymik. "DRAMA INTERPRETATION OF THE FAIRY TALE THE SNOW QUEEN BY HANS CHRISTIAN ANDERSEN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2017): 258. http://dx.doi.org/10.17770/sie2017vol2.2452.

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The theoretical part introduces the most frequently used drama techniques in early school education of Polish language. The practical part presents drama interpretation of the fairy tale The Snow Queen by Hans Christian Andersen. In the article, drama is introduced as a method that triggers students’ creative expression, which helps them understand the literary text better and ask proper questions.

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Plant, Stephen. "Book Review: Improvisation: The Drama of Christian Ethics." Studies in Christian Ethics 19, no. 3 (December 2006): 429–32. http://dx.doi.org/10.1177/0953946806071573.

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Dissertations / Theses on the topic "Christian drama"

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Odhuno, Were Todd Roberts. "In pursuit of African Christian Drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60385.pdf.

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Wissmann, Cheryl. "Linking creative drama with Christian education." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Rucker, Robert M. "Producing and directing drama for the church." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Baker, Heidi G. "A Christian dance-drama curriculum for ministry training in Hong Kong." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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Mastin, Rachel Londré Felicia Hardison. "Contemporary drama ministry theatre and the Evangelical-Christian church /." Diss., UMK access, 2007.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2007.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londré Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 24, 2008. Includes bibliographical references (leaves 57-58). Online version of the print edition.

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Gascón, Christopher Doherty. "Desire and the woman saint in the Spanish Baroque drama /." Digital version, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983211.

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Graves, Darlene Richards. "Creative Drama as an Instructional Strategy in Adult Christian Education." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/1350.

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This study reviews the tenents of adult learning. Christian education and creative drama and presents the observation that there are parallel objectives in each of these three major areas. Noting that creative drama is rarely used in adult Christian education, which is primarily cognitive-based and lecture-discussion oriented, the study proposes the application of creative drama strategies to provide an alternative experiential learning process and therefore create a drama strategies to provide an alternative experiential learning process and therefore create a balance of focus between cognitive, affective, reflective and active learning styles in adult Christian education. It also suggests that through the application of creative drama strategies teachers may more effectively realize the intentions of Christian education: to nurture sensitively aware individuals who are continually growing in faith and empathic love for others. Extant theoretical writings about the practice of creative drama and also literature dealing with the principles and intentions of adult Christian education are reviewed for this study. In the process of surveying current theory and practice in adult evangelical Christian education, the study elaborates on its two basic concerns: adult learning and Christian education. The study discloses a discernible gap between theory and practice through which creative strategies in adult evangelical Christian education have fallen. The study advances the conclusion that this gap may be addressed by application of the creative drama process. Creative drama is presented as one viable means of refreshing individual adult creativity and adult group creativity in Christian education and as an additional way through which to nurture empathic awareness and personal spiritual growth. The underlying assumption is that creative drama is a powerful, often neglected, tool by which adult evangelical Christian education groups may be stimulated to more effective learning and growth. Creative drama, adult learning, and Christian education converge in this study to present an advantageous educational angle. Creative drama is an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experiences. Built on the human impulse and ability to act out perceptions of the world in order to understand it, creative drama requires both logical and intuitive thinking, personalizes knowledge, and yields aesthetic pleasure. The strategy clearly interfaces with current findings in adult learning which represent the effective teacher as a facilitator who seeks to guide the adult learner toward more enhanced self-direction and growth rather than primarily as a disseminator of information who seeks to lead the learner into gaining more knowledge. Adult development findings reveal that adults learn best when their needs and interests are considered, their backgrounds, skills and knowledge are recognized as key resources, and they engage in active problem-solving. Likewise, creative drama draws its framework and impetus from similar concerns of the participants, using their interests and resources as the basis for enactment. In another venue, the intention of evangelical Christian education is to nurture believers toward higher levels of faith development, enhanced integrity in moral behavior, and clear exhibition of genuine love and service toward others. In a similar vein, creative drama also seeks personal growth and moral development through empathic awareness in enactment. Hence, the potential for achieving the ideal outcomes in the fields of adult education, and specifically adult Christian education, is more realizable with the application of the creative drama process to adult Christian education. In the course of literature review and the establishment of a rationale for considering the integration of the creative drama process as an instructional strategy in adult evangelical Christian education, additional ancillary, yet significant, aspects of personal and group growth and awareness are considered as part of the affective learning process and therefore discussed in terms of their applications to the proposal. These aspects include: major learning styles, the experiential learning cycle, adult development, group ctynamics, moral education, creativity development, play and the dramatizing impulse, imagination, metaphor, and empathic awareness and sensitivity. Each is considered as an important link in the connection of the creative drama process to adult evangelical Christian education. The study then lays out potential guidelines for the application of the creative drama process as an instructional strategy in adult Christian education. The potential benefits of creative drama are considered in the processes of determining educational objectives and setting up instructional guidelines for the adult student in the Christian education context. The guidelines include: considerations for effective adult motivation, establishment of positive physical and emotional atmosphere for creative experiential learning, and the sequential process for creative role-playing from warm-up, through enactment, to final evaluation. Suggested specific applications of creative drama in Christian education are presented with extensive sample lesson plans, including the rationale and implementation of guidelines for each step. The study concludes with suggested future research and training to achieve the potential of inculcating creative drama techniques in an adult evangelical Christian education context on a more systematic basis and over a broader scope of application. Recommendations are made for future publications and presentations in order to raise awareness of the need find potential effectiveness of more creative and experiential strategies in adult Christian education as well as to train for better teaching and leadership in those areas.

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Bunda, Sascha. "Komische Elemente im dramatischen Werk Christian Dietrich Grabbes /." kostenfrei, 2007. http://othes.univie.ac.at/55/.

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9

Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Starks, Gwendolyn. "The living light Hildegard von Bingen's visionary life : a one act play /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Books on the topic "Christian drama"

1

Beecher, Stowe Harriet. The christian slave: A drama. Alexandria, VA: Alexander Street Press, 2004.

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2

Charles, Hayes, ed. Christian themes: Six plays. Lyme, NH: Smith and Kraus, 1996.

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Alison, Siewert, ed. Drama team handbook. Downers Grove, Ill: InterVarsity Press, 2003.

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Forde, Nigel. Theatercraft, creativity & the art of drama. Wheaton, Ill: H. Shaw Publishers, 1990.

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J, Vincent John, ed. The drama of Mark. London: Epworth Press, 2010.

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Balthasar, Hans Urs von. Engagement with God: The drama of Christian discleship. San Francisco: Ignatius Press, 2008.

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7

Harris, Aleta. A potpourri of Christian drama for easy ministry. Venice, FL: Eldridge Pub. Co., 2000.

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8

Mitchum, Naomi. Fun with drama: Skits & such for youth. Nashville, TN: Abingdon, 1987.

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Mitchum, Naomi. Fun with drama: Skits & such for youth. [Nashville, Tenn.]: Abingdon Press, 1987.

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Hochhuth, Rolf. The representative: A Christian tragedy. London: Oberon, 1998.

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Book chapters on the topic "Christian drama"

1

Gunnell, Terry. "6.1.1. Early Representations of Old Nordic Religions in Drama." In The Pre-Christian Religions of the North, 421–46. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.pcrn-eb.5.115269.

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Giuliani, Massimo. "The Shoah and the Christian Drama of the Redemption." In Remembering for the Future, 1636–50. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-66019-3_109.

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McManus, Emer. "Marital Infidelity and Christian Self-Sacrifice in Thomas Heywood’s How a Man May Choose a Good Wife from a Bad." In Early Modern Drama and the Bible, 156–75. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358669_9.

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Potter, Ursula. "Elizabethan Drama and The Instruction of a Christian Woman by Juan Luis Vives." In What Nature Does Not Teach, 261–85. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.disput-eb.3.3255.

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Fischer, Conrad. "Zwischen Historia und Fabula. Maria Stuart als gespenstische Schwellenfigur in Andreas Gryphius’ Carolus Stuardus." In Neues von der Insel, 399–414. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_18.

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ZusammenfassungThis article seeks to contextualize a comment by the author Gryphius on the appearance of Mary Stuart in his tragedy Carolus Stuardus (1657/1663). To explain her entry, Gryphius lectures on the historical sources from Buchanan to Camden for the portrayal of Mary Stuart as the sufferer of a trial of injustice. In contrast, there is the literary history of reception, which Gryphius doesn’t mention. Here, after her death, for example in Joost van den Vondel's drama Maria Stuart (1646), Mary Stuart is staged primarily as a Christian Catholic martyr. Gryphius, in turn, according to the central thesis of this article, transforms her Christian martyrdom into a political one by staging Mary as a spirit of the dead. As a dramatic example, Mary thus lends her (ghostly) voice to the historical injustice of the English regicide.

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Dobos, Károly Dániel. "Shimi the Sceptical: Sceptical Voices in an Early Modern Jewish, Anti-Christian Polemical Drama by Matityahu Nissim Terni." In Melilah: Manchester Journal of Jewish Studies (2015), edited by Daniel R. Langton, 43–52. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463237141-006.

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Leach, Robert. "Christian drama." In An Illustrated History of British Theatre and Performance, 469–74. Routledge, 2018. http://dx.doi.org/10.4324/9780429463679-53.

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"‘For Christian Shame’." In Religious Conversion in Early Modern English Drama, 142–54. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781108569408.008.

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"Drama in Bible, Theology, and Life." In The Future of Christian Theology, 23–42. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444393477.ch2.

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Quinn, Philip L. "‘In Adam’s Fall, We Sinned All’." In Essays in the Philosophy of Religion, 209–33. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199297030.003.0011.

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Abstract The great drama of sin and atonement holds a central place in Christian life and thought. It shapes Christian views of history, is recapitulated in the lives of individual Christians, and is reenacted in Christian liturgies. A large part of what is distinctively Christian in Christian theism derives from this drama. Traditionally it has been an important theme in the thought of Christian theologians and philosophers. Among those who have contributed to our store of philosophical reflections on it are Augustine, Anselm, Aquinas, Scotus, Martin Luther, John Calvin, Jonathan Edwards, and Immanuel Kant. In the light of this tradition, it is striking that sin and atonement have not been at center stage in twentieth century analytic philosophy of religion. They have not been among the doctrines that have preoccupied even those philosophers sympathetic or committed to Christianity who employ the analytic style in their work.

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Reports on the topic "Christian drama"

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Graves, Darlene. Creative Drama as an Instructional Strategy in Adult Christian Education. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1349.

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