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Journal articles on the topic 'Christian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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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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2

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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3

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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5

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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6

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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7

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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8

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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10

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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11

Hovey, Craig. "Book Review: Improvistion: The Drama of Christian Ethics." Theology 109, no. 848 (March 2006): 147–48. http://dx.doi.org/10.1177/0040571x0610900226.

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12

Perris, Simon. "Our Saviour Dionysos: Humanism and Theology in Gilbert Murray's Bakkhai." Translation and Literature 21, no. 1 (March 2012): 21–42. http://dx.doi.org/10.3366/tal.2012.0045.

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This article analyses the 1902 translation of Euripides’ Bakkhai by the renowned scholar, internationalist, and popularizer of Greek drama, Gilbert Murray. In particular, Murray's syncretistic use of religious diction in the translation is contrasted with his secular humanist reading of the play: throughout the translation, pagan, Olympian polytheism is described in Christian terminology. I conclude that this apparent contradiction reflects the early twentieth-century literary-historical context in which Murray operated, and his own idiosyncratic, ritualist reading of the play and of Greek tragedy in general. Murray interpreted Bakkhai as a ‘secular mystery play’ in celebration of humanism, but he lacked the poetic resources to express this in verse without recourse to Christian phraseology. Within Murray's overall project of popularizing Greek drama, this translation stands as a significant, influential experiment in post-Victorian secular-mystical verse drama.

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Tamas, Iosif. "The beginnings of christian philosophy: “Fides et ratio”, Chapter IV." DIALOG TEOLOGIC XXIV, no. 47 (June 1, 2021): 34–50. http://dx.doi.org/10.53438/dbqc7337.

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In the twentieth year of his pontificate, on September 14, 1998, on the Exaltation of the Holy Cross, Pope John Paul II reads the Encyclical Letter on the Relationships between Faith and Reason “Fides et ratio”. The concept of “Christian philosophy” takes on meaning and receives new contributions to the definition of the phrase. Chapter IV of the Encyclical Letter emphasizes the significant stages of the encounter between faith and reason, the drama of the separation between the two, and the eternal novelty of St. Thomas’ thought. Christian philosophy can only be a realistic philosophy, and as philosophy approaches moderate realism, it is Christian. A philosophy of the self has nothing to do with the Christian philosophy. Many consider philosophy to be something indifferent to Christianity and to Christians; they do not want to understand that the meaning and fate of Christianity stands or falls with the philosophy that adopts it; and because apart from Thomism, the other philosophies do not agree with Christianity, without compromise on one side or the other, they say: not only in reality, but also in theory, Thomism is Christian philosophy; the others are more or less philosophical, because they are more or less Christian. The “dark cloud” of mystery that separates believers from unbelievers will help to develop a balanced and communicable level of understanding Christian philosophy, useful to both. In this first part we will focus on: the presence of St. Paul in Athens; the cautious attitude of Christians towards gnosis; the role of Saint Irenaeus and Tertullian.

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Sumbad, Jigar. "Representation of Power and Sacrifice in T S Eliots's Murder In The Cathedral." Revista Review Index Journal of Multidisciplinary 3, no. 2 (June 30, 2023): 21–23. http://dx.doi.org/10.31305/rrijm2023.v03.n02.003.

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The dramas began to emerge in the 20th century and it became One of the prosperous and more popular genre in the world of literature most of the dramas was previously based on the Christian themes and religions themes the modern drama reached to its peak with the words, imagination, verse and thoughts of T S Elliot. Murder in the Cathedral depicts the conflicts of good and bad, power and sacrifice, truth and untruth it possesses sequences of interlude which describes the before and after portion of the play. Murder in the Cathedral views perfect image and struggle between The Archbishop and The King between the good and the bad.

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Stjernfelt, Frederik. "DET ONDE BLØDDYR - Ondskaben oplever en renæssance – men findes den?" Psyke & Logos 24, no. 1 (July 31, 2003): 7. http://dx.doi.org/10.7146/pl.v24i1.8631.

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Anmeldelser af: Rüdiger Safranski: Das Böse oder Das Drama der Freiheit. Carl Hanser Verlag, 1998 (335 sider). Da. udg. Det onde eller Frihedens drama. Oversat af Christian Bundegaard. Gyldendal, 1999 (283 sider). Lars Fr. H. Svendsen: Ondskabens filosofi. Oversat af Joachim Wrang. Klim, 2002 (223 sider, kr. 245). Richard Bernstein: Radical Evil. A Philosophical Interrogation. Oxford: Polity Press, 2002.

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SEDRAKYAN, Anush. "TWO CONFLICTING ETHICAL CODES IN SHAKESPEAREAN DRAMA." Foreign Languages in Higher Education 20, no. 3 (21) (November 17, 2016): 164–69. http://dx.doi.org/10.46991/flhe/2016.20.3.164.

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This paper mainly pinpoints the peculiarities of Elizabethan secular drama. Drama as a genre in that period fluctuates between Reformation and Catholicism. That determines the special morality and ethical code. This code includes the selection of Pagan or Christian hero based on the priority of the objective, which is reached by comparing two heroes – Shylock and Hamlet.

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17

Astrauskienė, Jurgita, and Indrė Šležaitė. "Appropriation of Symbol as Disclosure of the World of the Play in Tennessee Williams’s “The Glass Menagerie”." Respectus Philologicus 23, no. 28 (April 25, 2013): 67–82. http://dx.doi.org/10.15388/respectus.2013.23.28.6.

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This paper examines the symbol as a key to understanding the world of Tennessee Williams’s play The Glass Menagerie (1945) within the frame of hermeneutics offered by Paul Ricoeur. Various conceptions of the symbol are presented, and the impact of religion upon the playwright’s drama is discussed. The interest of the authors is particularly directed towards the role of Christian symbols and their power to present, in a distinctive and irreplaceable way, the interplay of sacred and profane contexts. The Christian images inspire and shape the narrative structure of the drama. The analysis of particular symbols reveals that the playwright artistically uses Christian iconographic and liturgical implications as the symbolic pattern of the play. The spiritual meanings are evoked by the symbol of the rose, which is traditionally regarded as an emblem of the Virgin Mary, while the symbolic representation of the unicorn is associated with the Annunciation.

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18

Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.

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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.

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Azarova, Valentina Vladimirovna. "French mystery drama in the mirror of the twentieth century." Культура и искусство, no. 3 (March 2022): 54–72. http://dx.doi.org/10.7256/2454-0625.2022.3.37697.

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The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man. About the inclusion of the French mystery drama of the twentieth century in the general cultural context.

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20

Von Rosador, Kurt Tetzeli. "Christian Historical Drama: The Exemplariness ofMurder in the Cathedral." Modern Drama 29, no. 4 (December 1986): 516–31. http://dx.doi.org/10.3138/md.29.4.516.

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Cloutier, David. "Improvisation: The Drama of Christian Ethics ? By Samuel Wells." Teaching Theology & Religion 10, no. 4 (October 2007): 254–55. http://dx.doi.org/10.1111/j.1467-9647.2007.00383.x.

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Owens, L. Roger. "Improvisation: The Drama of Christian Ethics ? By Samuel Wells." Modern Theology 23, no. 2 (April 2007): 311–14. http://dx.doi.org/10.1111/j.1468-0025.2007.00384.x.

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23

Oki, Olumide J., and Sunday F. Adetoro. "Examining the Role of Christian Drama in Facilitating Social Transformation: A Study of Two Mount Zion Film Productions Movies." Global Academic Journal of Humanities and Social Sciences 6, no. 02 (March 19, 2024): 55–68. http://dx.doi.org/10.36348/gajhss.2024.v06i02.003.

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This paper investigates the impact of Christian drama on social transformation through an analysis of two prominent Mount Zion Film Productions (MZFP) movies: Last Man Standing and Legion. Anchored on the Cultivation Theory by George Gerbner, which suggests that long-term exposure to media content can shape individuals' perceptions of reality, influencing their beliefs, attitudes, and behaviors, the study explores how MZFP effectively utilizes storytelling to address contemporary issues and promote Christian values. Through a thematic analysis encompassing faith, redemption, forgiveness, spiritual warfare, and ethical dilemmas, the paper examines how these films engage audiences in thought-provoking reflections on Christian principles and societal challenges. Furthermore, it investigates how the films raise awareness, challenge stigmas, promote dialogue, advocate for change, and celebrate virtues while condemning vices. By comparing and contrasting the thematic elements and societal impact of Last Man Standing and Legion, this study offers insights into the potential of Christian drama to influence perceptions, attitudes, and behaviors within society. Ultimately, the findings contribute to a deeper understanding of the role of film as a medium for fostering social consciousness and spiritual renewal in contemporary culture.

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VanZandt Collins, Michael. "Toward Witnessing the Other: Syria, Islam and Frans van der Lugt." Religions 11, no. 4 (April 8, 2020): 174. http://dx.doi.org/10.3390/rel11040174.

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This article addresses issues and questions at the intersection of religion and theatrical drama from the perspective of Muslim-Christian comparative theology. A case study approaching an actual performance of Shakespeare’s Romeo and Juliet from this disciplinary point of view also takes into account the Syrian context, develops a framework for “mutual witnessing”, and the practice of drama therapy. Accordingly, the case-method proceeds to address two interrelated challenges. The first is how to relate to the adaptive praxis and theological sensibilities of performers who inhabit a political and religious situation that is radically different from one’s own. The second regards in a more specific way of reframing a case of Christian martyrdom in terms of witnessing that remains open and hospitable to religious others, and particularly in this case to Syrian Muslims. As an exercise of comparative theology, this case-method approach focuses on notions of “witnessing truth” that appear and are cultivated in the work of liberation theologian Jon Sobrino and in Ibn ‘Arabī’s Fusūs al-Hikam, specifically the chapter on Shuayb. In conclusion, this exercise turns to the performance itself as a potential foundation for shared theological reflection between Muslims and Christians. As such, this article attempts to render how theatrical action creates a “religious” experience according to the structure and threefold sense that Peter Brook observes.

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Macpherson, Duncan. "Prophetic Preaching, Liberation Theology and the Holy Land." Holy Land Studies 3, no. 2 (November 2004): 233–44. http://dx.doi.org/10.3366/hls.2004.3.2.233.

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For Christian preachers the Holy Land is essential to understanding the Bible. Preachers often leave modern Israel-Palestine out of their preaching picture. Others, fundamentalist preachers, support modern Israel for its part in an apocalyptic drama of the last times. A third group sees the land as the recompense to the Jewish people for their sufferings – reinforced for some by a residually literalist interpretation of Scripture. Still others show solidarity with indigenous Palestinian Christians, developing a theology of liberation emphasising God's preferential option for the poor – the Palestinians and all oppressed people. Homiletic strategies will be sketched to illustrate this last approach.

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Gomes, José António. "Christian values in portuguese children's and youth literature." Child Studies, no. 1 (September 12, 2022): 27–36. http://dx.doi.org/10.21814/childstudies.4125.

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The present article outlines a non-exhaustive overview of the presence of Christian values, and other aspects related to Christianism, in contemporary Portuguese writing for childhood and youth. Different modalities/genres (narrative, poetry, drama) are considered and some of the most relevant voices in this domain, such as Sophia de Mello Breyner Andresen, Luísa Dacosta, Nuno Higino, Alice Vieira and others, are highlighted. The author acknowledges the strong presence, and recurrence, in this literature, of values and themes of Christian inspiration, regardless of the confession of faith and the Christian conviction of the authors in appreciation.

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Longosz, Stanisław. "Chrześcijańskie widowiska zastępcze w propozycji Ojców Kościoła." Vox Patrum 67 (December 16, 2018): 303–60. http://dx.doi.org/10.31743/vp.3403.

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The Church Fathers presented a decidedly negative stance toward all public spectacles of their time, which they generally accused of being immoral and idolatrous in nature. For this reason, the ancient Church, although it has inherited many spectacular elements (especially in the area of liturgy – processions and acclamations, among others; and in the sphere of the language – many terms, expressions and comparisons), has never created its own drama. Many authors of that time, especially those concerned with pastoral implications, noticed that this definitely negative attitude was failing in practice, because many Christians, even though they had renounced the spectacular splendor of the devil at baptism, often attended spectacles, because it was very difficult to eradicate their desire to watch performances, which they treated as a public pleasure they are entitled to (voluptates). In response to this situation, many early Christian writers renounced efforts to uproot people’s desire for viewing pleasure, and proposed to change the subject being viewed. Instead of harmful public spectacles, they suggested watching Christian substitute performances, which included beautiful scenery of nature (as was already suggested by some stoics), but most often more expressive biblical scenes or events. The author of the article selects and presents five early Christian writers – Tertullian, Novatian, St. John Chrysostom, St. Augustine and Quodvultdeus, who openly wrote about such substitute Christian performances.

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Bender, Kimlyn J. "Christ, creation and the drama of redemption: ‘The play's the thing . . .’." Scottish Journal of Theology 62, no. 2 (May 2009): 149–74. http://dx.doi.org/10.1017/s0036930609004670.

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AbstractThe Christian doctrine of creation is predicated upon two convictions: the transcendence of God and the creative activity of God in the world. While recent studies have shown the compatibility of these two seemingly conflicting convictions, the grounding for them has received less attention. This paper argues that a proper Christian understanding of these convictions and their relationship is dependent upon seeing their basis in christology and trinitarian doctrine. It thus traces the close relationship between Christ and creation and that between creation and redemption in scripture, the patristic period and their more recent retrieval in Schleiermacher and Barth, comparing such conceptions to pagan and neo-pagan alternatives for understanding the God–world relation.

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Jekić, Sara. "The mother archetype in the drama The Sanctuary of Abraham by Mavro Vetranović." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 133–46. http://dx.doi.org/10.5937/zrffp54-46468.

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Vetranović's work, diverse in genres and themes, marked the 16th century and introduced the Christian Renaissance as a new ruling epoch in Dubrovnik, with him being a key representative. With his creative skills, this Benedictine monk, poet, devotee, and restorer of Christian themes and motifs in literature "revived" striking biblical female characters, who even then served an important function - to provide a universal model of education and governance for the female population. Inspired by the Old Testament biblical story (from the Book of Genesis) about Abraham's testing and the most difficult sacrifice for any parent, Vetranović wrote the pious drama The Sanctuary of Abraham, in which he paid special attention to Abraham's wife, Sarah. Sarah enchanted the then-reading audience with her spiritual beauty and moral sublimity, while her sacrifice for her only son and perseverance in faith, love, and hope established her as a good example of the archetype of unconditional maternal love.

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Umbara, Joko. "Paradoks Salib: Keindahan Wajah Kemuliaan Allah." MELINTAS 35, no. 1 (July 7, 2020): 77–94. http://dx.doi.org/10.26593/mel.v35i1.4035.77-94.

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An experience of the cross of Jesus Christ in Christian theology brings the sense of paradox. Christ’s death on the cross reflects the fate of humanity within the context of Christian faith. The cross is also seen as a mystery that tells the tragic story of humans who accept their punishment. However, the cross of Jesus Christ also reveals meanings that challenge Christians to find answers in their contemplation of the cross. The cross becomes a stage for human tragic drama, which might also reveal the beauty of death and life. It is the phatos of humanity, for every human being will die, but it is also seen as the tree of life hoped for by every faithful. On the cross is visible God’s self-giving through the love shown by the crucified Christ. God speaks God’s love not only through words, that is, in the teachings of Jesus Christ, but also through Christ’s loving gesture on the cross. The cross of Christ is the culmination of God’s glory and through it, God’s glory is shown in the beauty of divine love.

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WIEBE, HEATHER. "Benjamin Britten, the ““National Faith,”” and the Animation of History in 1950s England." Representations 93, no. 1 (2006): 76–105. http://dx.doi.org/10.1525/rep.2006.93.1.76.

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ABSTRACT This article examines constructions of national Christian tradition in 1950s England, focusing on images of deadness and revivification in two products of the religious drama movement: the York Mystery and other plays presented at the 1951 Festival of Britain, and Benjamin Britten's 1958 children's opera Noye's Fludde.

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Gillespie, Charles A., Justin Kosec, and Kate Stratton. "Treasure in Clay Jars: Christian Liturgical Drama in Theory and Praxis." Theatre Symposium 21, no. 1 (2013): 90–103. http://dx.doi.org/10.1353/tsy.2013.0000.

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33

Vondey, Wolfgang. "The Drama of Doctrine: A Canonical-Linguistic Approach to Christian Theology." Pneuma 30, no. 2 (2008): 365–66. http://dx.doi.org/10.1163/157007408x346708.

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Carmen-Cerdán, Rodrigo. "Pedagogía política y drama escolar protestante. El Masaniello de Christian Weise." Anuario de Estudios Filológicos 46 (May 3, 2023): 73–93. http://dx.doi.org/10.17398/2660-7301.46.73.

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La revuelta de Nápoles de 1647 encabezada por el pescador Tommaso Aniello (Masaniello) suscitó intensas reacciones en todo el continente europeo. A su vez, la reflexión sobre la política y la razón de Estado adquiría cada vez mayor relevancia a partir de la segunda mitad de siglo XVII. El campo literario no se quedó atrás y algunos intelectuales vieron en estos acontecimientos históricos la oportunidad para expandir sus modelos pedagógicos en los teatros escolares protestantes: el uso de la historia como método de enseñanza de la política, de la retórica y de la religión al mismo tiempo. Uno de estos autores fue Christian Weise (1642-1708) quien, tomando como fuente algunas de las crónicas de la revuelta mencionada, construye un drama, Masaniello (1682), en el que pretende hacer reflexionar a sus alumnos, al público y al lector sobre la prudencia política y la razón de Estado.

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Yuriev, Andrey. "Ibsen, Blok and Russian revolution (on connections between the poem The Twelve and the double-drama Emperor and Galilean)." Scandinavian Philology 20, no. 2 (2022): 357–71. http://dx.doi.org/10.21638/11701/spbu21.2022.209.

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The article deals with relations between Alexandr Blok’s poem The Twelve (1918) and Henrik Ibsen’s “world-historical drama” Emperor and Galilean (1873). Proceeding from the Christian paradoxical discourse after the Norwegian playwright, the poet radicalizes it so much that the bounds of traditional Christian worldview are broken down. In the poem, one can notice a rather complex indirect connection with the paradoxical discourse of both Dostoevsky (whose Christian identity is difficult to question) and Ibsen, especially beloved by Blok, in whose system of views it is important to notice the Lutheran dominant, implicitly referring to some Gnostic views that have quite logically been actualized in European culture of the last two centuries. The similarity between works so different, at first glance, as The Twelve and Ibsen’s double- drama, deserves attention: in both cases, Christ appears ghostly, not in the flesh, in Blok — invisible to all the characters, in Ibsen — as visible only to very few. In both cases, he brings retribution — a theme equally important both in Ibsen’s work and in Blok’s poem. Both the Norwegian playwright and the Russian symbolist poet interpret world history from the standpoint of religious and metaphysical paradoxicalism. Ibsen’s hero who renounced Christ begins the most brutal, bloody persecution of the Christian Church in order to destroy Christianity (Blok’s Red Guards shooting at both “Holy Russia” and the invisible Christ for them create a kind of parallel for him in this case), but achieves the goal opposite to his intentions — he cleanses Christianity and thereby saves it. The same can be said about Ibsen’s Julian that was said by Blok about the Red Guard — this is “water” to the mill of the Christian church. We do not know whether Blok think of Emperor and Galilean when working at his poem, but the parallels are obvious and remarkable.

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Tamba, Sartika S. "Pengembangan Naskah Drama Materi Menjadi Berkat Bagi Sesama Dalam Menumbuhkan Sikap Berbagi." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 18, no. 2 (September 10, 2020): 149–60. http://dx.doi.org/10.46965/ja.v18i2.337.

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The purpose of this study was to develop drama scripts in Menjadi Berkat Bagi Sesama in developing attitudes in fostering sharing in grade 5 students through Christian religion education. Sample is 61 teachers PAK IN Kec. Tarutung and Kec. Sipoholon, where 31 teachers as research and 30 teachers for instrument test. This research using development research with procedure model ADDIE which was developed Dick Carry, namely Analysis, Design, Development, Implementation, and Evaluation. Based on the research it was concluded that the drama script is very necessary as a learning medium by PAK teachers when teaching material Menjadi Berkat Bagi Sesama in fostering shared attitudes for students.

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Lawson, Kevin E. "Light from the “Dark Ages”: Lessons in Faith Formation from before the Reformation." Christian Education Journal: Research on Educational Ministry 14, no. 2 (November 2017): 328–46. http://dx.doi.org/10.1177/073989131701400206.

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This article explores how parish members in the later medieval era in England learned the Christian faith through a variety of means (e.g., preaching, liturgical calendar, art, music, poetry, drama, confessional instruction, spiritual kinship relationships, catechetical instruction) with an eye on what we might learn from this era that could strengthen the church's educational ministry efforts in the present.

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Ayres, Lewis. "The soul and the reading of scripture: a note on Henri De Lubac." Scottish Journal of Theology 61, no. 2 (May 2008): 173–90. http://dx.doi.org/10.1017/s0036930608003943.

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AbstractHenri DeLubac's work on multi-sense scriptural reading has become a major resource for Catholic and Protestant theologians seeking a new integration of biblical studies and theology. Rarely, however, is it noticed that De Lubac's account of scriptural interpretation involves a robust notion of the soul and its transformation in the Christian life – and that in linking these themes De Lubac accurately reflects a central theme of pre-modern exegesis. This article thus suggests, first, that defending a notion of soul is important for those seeking to appropriate pre-modern exegesis. The article then argues that such a project is only possible if we move beyond Harnackian notions of early Christianity's ‘hellenisation’ and see the soul as a theological doctrine. The soul is the fundamental locus of a transformation in which Christians act in and through the Spirit as members of the body of Christ. Once the status of the soul is acknowledged, we are then best able to follow De Lubac's call for the reintegration of moral-practical aspects of Christianity and the discipline of theology. The article finally argues that Christian accounts of scriptural interpretation should find their core in an understanding of scripture as a graced resource for the formation of Christians, and that these accounts should be ever attentive to the place of scripture within the drama of salvation.

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Pihlaja, Stephen. "‘It’s all red ink’: The interpretation of biblical metaphor among Evangelical Christian YouTube users." Language and Literature: International Journal of Stylistics 22, no. 2 (May 2013): 103–17. http://dx.doi.org/10.1177/0963947013483996.

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Among Evangelical Christians on the popular video-sharing site YouTube, the Bible is an important resource for justifying and challenging specific words and actions. Such justifications and challenges provide researchers with an opportunity to study how authoritative text is interpreted in social interaction. To that end, this article presents analysis of a single debate – an episode of what YouTube users call ‘drama’ – around one Evangelical Christian’s controversial use of a passage from the Bible to justify calling others ‘human garbage’. This analysis shows first, that conflicting interpretations and use of the Bible’s moral authority led to the development of ‘drama’ because users evidenced differing beliefs about the development of biblical metaphorical language; and second, that users appropriated the Bible’s words to their own discourse activity through exegesis and metaphor development. This article thus provides both an empirical case study in the interpretation of figurative language and a challenge to the common assumption that Evangelical Christians are committed to a ‘literal’ interpretation of the Bible.

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Mazur-Lejman, Katarzyna. "Katabasis as a Category of Maturity Initiation and Nekyia Motifs in Contemporary Drama for Children and Adolescents." Tekstualia 4, no. 71 (December 19, 2022): 53–66. http://dx.doi.org/10.5604/01.3001.0016.1852.

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The subject of the article is the use of the katabasis, its transformations and resulting meanings in contemporary drama for children and adolescents. There are depictions of the afterlife in Polish and foreign drama that play with the tradition of such representations. One fi nds unusual, child-like heroes who decide to cross the border between the world of the living and the dead. Their wandering through the afterlife can be associated with initiation, which brings to mind both the antiquity and the Christian tradition. The problem of nekia is also discussed in connection with the liminal character of the play, shedding light on the functions of the characters that appear post-mortem.

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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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Primorac, Jaksa. "Ethnological-Historiographic View on Seven Ancient Extant Christian Liturgies." Collectanea Christiana Orientalia 21 (May 30, 2024): 121–38. http://dx.doi.org/10.21071/cco.v21i.17032.

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The author analyses comparatively seven ancient extant Christian liturgies: Roman Catholic Tridentine mass, Byzantine liturgy of the Eastern Orthodox Churches, four liturgies of the Oriental Orthodox Churches: Alexandrian-Coptic, Antiochian-Syriac, Armenian and Ethiopian, and finally the liturgy of the Churches of the East: Assyrian and Ancient. Furthermore, the author researches inculturation of Antiochian-Syriac liturgy and Churches of the East liturgy in South India, as well as liturgies in Eastern Catholicism and Western Orthodoxy. This study explores historical events that are crucial to understanding the origin and development of ancient liturgies, as well as major architecture, painting, drama and music aspects of liturgies from ethnological perspective.

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Emmerson, R. K. "JOHN PARKER. The Aesthetics of Antichrist: From Christian Drama to Christopher Marlowe." Review of English Studies 60, no. 243 (August 2, 2008): 134–36. http://dx.doi.org/10.1093/res/hgn116.

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Fernández, Mariana. "Comentario a Christian Ferrer: Mal de ojo. El drama de la mirada." Delito y Sociedad 1, no. 31 (June 6, 2016): 143–45. http://dx.doi.org/10.14409/dys.v1i31.5640.

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Lee, Christopher. "Jewish-Christian Debate and the Didacticism of Drama in the Jeu D’adam." Comitatus: A Journal of Medieval and Renaissance Studies 38, no. 1 (2007): 19–41. http://dx.doi.org/10.1353/cjm.2007.0045.

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Watkins, John. "The Aesthetics of Antichrist: From Christian Drama to Christopher Marlowe. John Parker." Speculum 84, no. 1 (January 2009): 201–3. http://dx.doi.org/10.1017/s0038713400021461.

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Cox, John D. "Book Review: The Aesthetics of Antichrist: From Christian Drama to Christopher Marlowe." Christianity & Literature 59, no. 2 (March 2010): 344–47. http://dx.doi.org/10.1177/014833311005900218.

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Gockel, Matthias. "Redemption and Transformation." Religion and the Arts 20, no. 4 (2016): 419–41. http://dx.doi.org/10.1163/15685292-02004001.

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The article discusses Richard Wagner’s last music-drama, which today is the traditional Good Friday “opera” in New York, Vienna, and other venues around the globe. I argue that Parsifal utilizes traditional Christian symbols and thereby transforms them, in order to help transform the world of the audience. The first part of the article summarizes the dramatic conflict and analyzes how the work appropriates the Christian symbolism of the Lord’s Supper. I also look at Wagner’s essay “Religion and Art,” which was written during the composition of Parsifal and presents an ethical critique of Christianity in the name of “true religion.” The second part of the article presents two assessments of Parsifal, both of which acknowledge its inherent religious symbolism but come to different conclusions regarding its significance (Christian versus atheistic). The third part of the article offers an alternative interpretation and implies trajectories for further research.

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Busto, Rudy V. ""It Really Resembled an Earthly Paradise"." Biblical Interpretation 2, no. 1 (1994): 111–37. http://dx.doi.org/10.1163/156851594x00060.

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AbstractThe 1539 colonial Mexican drama, La caida de nuestros primeros padres ("The Fall of Our First Parents") is known only through a description of the performance by the Spanish Dominican priest Motolinia. A reading of this text alongside other colonial documents and through the pre-Cortesian Nahuatl worldview reveals that despite its biblical theme, a vital and assertive indigenous presence undermines this use of theater as a Christian missionizing tool.

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Billing, Christian M. "Lament and Revenge in the Hekabe of Euripides." New Theatre Quarterly 23, no. 1 (January 16, 2007): 49–57. http://dx.doi.org/10.1017/s0266464x06000625.

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In this article Christian M. Billing considers the relationship between female lament and acts of vengeance in fifth-century Athenian society and its theatre, with particular emphasis on the Hekabe of Euripides. He uses historical evidence to argue that female mourning was held to be a powerfully transgressive force in the classical period; that considerable social tensions existed as a result of the suppression of female roles in traditional funerary practices (social control arising from the move towards democracy and the development of forensic processes as a means of social redress); and that as a piece of transvestite theatre, authored and performed by men to an audience made up largely, if not entirely, of that sex, Euripides' Hekabe demonstrates significant gender-related anxiety regarding the supposedly horrific consequences of allowing women to speak at burials, or to engage in lament as part of uncontrolled funerary ritual. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has worked extensively as a director and actor and has also taught at a number of universities in the United Kingdom and the USA. He is currently Lecturer in Drama at the University of Hull.

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