Theatre And Incarnation

In this lucid and entertaining book, Max Harris offers both a lively introduction to the theater and a sustained meditation on the theatricality of the Incarnation. Arguing that both biblical and dramatic texts should be approached with a theatrical rather than a literary imagination, he offers fresh and scholarly insights into plays as diverse as the medieval "Ordinalia" and Edmond Rostandbs romantic masterpiece "Cyrano de Bergerac," while also probing theatrical theory from Aristotle to Grotowski. At the same time, he renders vividly the comic potential of the gospel narratives and the affirmation of humanity entailed in the Christian doctrine of the Incarnation. "Theater and Incarnation" moves provocatively and mischievously between the flesh and blood world of the theater and the Word become flesh in Jesus of Nazareth.

Theology is inherently theatrical, rooted in God's performance on the world stage and oriented toward faith seeking performative understanding in the theatre of everyday life. Following Hans Urs von Balthasar's magisterial, five-volume 'Theo-Drama', a growing number of theologians and pastors have been engaging more widely with theatre and drama, producing what has been recognized as a

A theologian and a theatre artist examine both the nature of theatrical performance within contemporary culture and its relationship to Christian life, faith, and worship.

Theology is inherently theatrical, rooted in God's performance on the world stage and oriented toward faith seeking performative understanding in the theatre of everyday life. Following Hans Urs von Balthasar's magisterial, five-volume Theo-Drama, a growing number of theologians and pastors have been engaging more widely with theatre and drama, producing what has been recognized as a "theatrical turn" in theology. This volume includes thirteen essays from theologians and pastors who have contributed in distinct ways to this theatrical turn and who desire to deepen interdisciplinary dialogue between theology and theatre. The result is an unprecedented collection of essays that embodies and advances theatrical theology for the purpose of enriching theological reflection and edifying the church. Contributors include: Kevin J. Vanhoozer Ivan Khovacs Timothy Gorringe Shannon Craigo-Snell George Pattison Jim Fodor Todd E. Johnson David Cunningham Marilyn McCord Adams Richard Carter Samuel Wells Peter Goodwin Heltzel David Brown

In recent years numerous scholars in disciplines not traditionally associated with theology have promoted an interesting thesis. They maintain that one particular Christian doctrine, the Incarnation, had an inordinate influence on the shape of Western culture. The doctrine, they say, was so radical that it mandated an epistemological break with pagan society's perception of the universe and forced Christians to form a new culture. As medieval society worked out the consequences of the doctrine, it gave birth to those attitudes, institutions, and actions that define modern Western culture. The claims are well argued, but it is a historically untested thesis. How the Doctrine of Incarnation Shaped Western Culture is a response to the situation. It investigates whether the presence of the doctrine had the definitive effect on Western culture that so many scholars claim it did. It searches early Christian and medieval sources for evidence and concludes that the doctrine had a dominant effect on the developing culture. No other idea was as omnipresent or pervasive in Western society during its formative stage as the Incarnation doctrine. The doctrine was influential in the establishment of every major facet of Western culture. Its paradox, irrationality, and juxtaposition of opposites created a tension that cried out for resolution, and society responded accordingly. The ideas within the doctrine acted as catalysts for cultural change. As a result, the West developed its most characteristic traits and forged a path that was uniquely its own.

This book interrogates anew the phenomenon of tradition in a dialogical debate with a host of Western thinkers and critical minds. In contrast to the predominantly Western approaches, which look at traditions (Western and non-Western) from a predominantly (Western) modernist perspective, this book interrogates, from an intercultural perspective, the transnational and transcultural consecration, translation, (re)invention, and displacement of traditions (theatrical and cultural) in the aesthetic-political movement of twentieth-century theatre and performance, as exemplified in the case studies of this book. It looks at the question of traditions and modernities at the centre of this aesthetic-political space, as modernities interculturally evoke and are haunted by traditions, and as traditions are interculturally refracted, reconstituted, refunctioned, and reinvented. It also looks at the applicability of its intercultural perspective on tradition to the historical avant-garde in general, postmodern, postcolonial, and postdramatic theatre and performance and to the twentieth-century "classical" intercultural theatre and the twenty-first-century "new interculturalisms" in theatre and performance. To conclude, it looks at the future of tradition in the ecology of our globalized theatrum mundi and considers two important interrelated concepts, future tradition and intercultural tradition. This book will be of great interest to students and scholars in performance studies.

Christian theatre has rich roots, from ancient Hebrew dramas to medieval plays, but where does it fit in today's media-saturated society? Performing the Sacred is a fascinating dialogue between a theologian and theatre artist, offering the first full-scale exploration of theatre and theology. The authors illuminate the importance of live performance in a virtual world, of preserving the ancient art form of storytelling by becoming the story. Theologically, theatre reflects Christianity's central doctrines--incarnation, community, and presence--enhancing the human creative experience and simultaneously engaging viewers on multiple levels. This Engaging Culture series title will be a key volume for those interested in theatre as well as drama practitioners, worship leaders, and culture makers.