Living Theodrama is a fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. Different chapters explore the role of the triune God, Scripture, tradition, the church, mission, and context in the process of formation and performance, thus dealing separately with major themes in theological ethics while incorporating them within an overarching model. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

This is the final volume of this series on "theological dramatic theory" by the great 20th century theologian Balthasar. This series is the second part of Balthasar's trilogy on the good, the beautiful and the true which is his major work. The first series in the trilogy is The Glory of the Lord, and following this Theo-Drama series will be Theo-Logic. In this series "the good" has been the focus. Balthasar maintains that it is in the theater that man attempts a kind of transcendence to observe and to judge his own truth about himself. He sees the phenomenon of theater as a source of fruitfulness for theological reflection on the cosmic drama that involves earth and heaven. This fifth volume is trinitarian, focusing on the mystery of God. He draws heavily on Scripture and many passages from the works of the mystic Adrienne von Spyer. Some of the topics covered include "A Christian Eschotology", "The World is from the Trinity", "Earth moves Heavenward", "The Final Act: A Trinitarian Drama."

The McMaster Journal of Theology and Ministry is an electronic and print journal that seeks to provide pastors, educators, and interested lay persons with the fruits of theological, biblical, and professional studies in an accessible form. Published by McMaster Divinity College in Hamilton, Ontario, it continues the heritage of scholarly inquiry and theological dialogue represented by the College's previous print publications: the Theological Bulletin, Theodolite, and the McMaster Journal of Theology.

The Problem with the Dot is rooted in the idea that culture is a garden to be tended (Gen 2:15) rather than a war to be won and uses the analogy of an ecosystem to expand the details of the individual components of the theatrical ecosystem to: 1.Help those with minimal exposure to theater understand the indivisible construct of the theatrical ecosystem; 2.Identify areas of Christian neglect within each component; and 3.Emphasize strategic corrections that will result in the holistic restoration of a healthy global culture. Each chapter strengthens the case for a long-term holistic approach to the care and cultivation of global culture through the theatrical ecosystem, culminating in a call to action that is magnified by the unique opportunity presented by the 2020 global pandemic that forced a hiatus on all theatrical productions. The market will reset, and artists will revive theaters. It is my prayer that when this grand reopening occurs around the globe, Christians are an integral part of the new beginning.

In Participation and Covenant: Contours of a Theodramatic Theology, Moes develops a theological framework that has participation in the life of God in Christ through the Spirit as its integrative center. In doing so, he enters into conversation with covenant or federal theology, particularly as it has been presented by Michael Horton, in which the integrative center is the concept of the covenant. He argues that God's fundamental relationship with humanity does not entail a covenant ontology--a fundamentally legal and ethical relationship to God, as we find in Horton's presentation--but rather an ontology of participating in God's loving presence in Christ through the Holy Spirit. For this relationship we were created, and this participation is therefore natural to us. Accordingly, a theodramatic framework that incorporates a reframed understanding of divine-human covenants and that has participation in the life of God in Christ by the Spirit as its integrative center is better able to give direction for clearly communicating the gospel in our secular culture and for properly shaping our Christian identity and practice--in the face of the secularism that affects the church, too--than Horton's framework of covenant theology.

In this volume, highly esteemed scholar Kevin Vanhoozer introduces readers to a way of thinking about Christian theology that takes the work he began in the groundbreaking 2005 book, The Drama of Doctrine, to its next level. Vanhoozer argues that theology is not merely a set of cognitive beliefs, but is also something we do that involves speech and action alike. He uses a theatrical model to explain the ways in which doctrine shapes Christian understanding and forms disciples. The church, Vanhoozer posits, is the preeminent theater where the gospel is "performed," with doctrine directing this performance. Doctrines are not simply truths to be stored, shelved, and stacked, but indications and directions to be followed, practiced, and enacted. In "performing" doctrine, Christians are shaped into active disciples of Jesus Christ. He goes on to examine the state of the church in today's world and explores how disciples can do or perform doctrine. Written in an accessible and engaging style, Faith Speaking Understanding sets forth a compelling vision of what the church is and what it should be doing, and demonstrates the importance of Christian doctrine for this mission. Disciples who want to follow Christ in all situations need doctrinal direction as they walk onto the social stage in the great theater of the world. The Christian faith is about acknowledging, and participating in, the great thing God is doing in our world: making all things new in Christ through the Holy Spirit. Doctrine ministers understanding: of God, of the drama of redemption, of the church as a company of faithful players, and of individual actors, all of whom have important roles to play. In an age where things fall apart and centers fail to hold, doctrine centers us in Jesus Christ, in whom all things hold together.

God's Shining Forth offers a theological presentation of divine light in which the leading motif is the doctrine of the Trinity. More precisely, this study is organized around a double trinitarian theme: God is light in himself, and from himself God is radiant in relation to human creatures. This double affirmation is expounded by considering its extensions in the work of God's grace, in ecclesiology, and in the nature of theological intelligence. The chosen conversation partners in this study are some of the leading pro-Nicene trinitarian theologians of the fourth century, plus John Calvin, Karl Barth, and a selection of contemporary authors. Andrew Hay argues that the scriptural statement "God is light" is best understood as a confession of the eternal, fully realized life of the triune God in its wholly gratuitous electing, reconciling, and illuminating human creatures in the darkness of sin and death.

This introductory textbook establishes theatrical improvisation as a model for Christian ethics, helping Christians embody their faith in the practices of discipleship. Clearly, accessibly, and creatively written, it has been well received as a text for courses in Christian ethics. The repackaged edition has updated language and recent relevant resources, and it includes a new afterword by Wesley Vander Lugt and Benjamin D. Wayman that explores the reception and ongoing significance of the text.

In today's church, use of the term transformation has become commonplace. Various perspectives are offered on what a Christian view of transformation is--and on how it may be achieved. These often-conflicting views suggest an ecclesial landscape characterized by pluralism, division, fragmentation, confusion, relativism, individualism, pragmatism, and subjectivism. Despite the current interest in transformational theology, the absence of a common, coherent, and integrated vision (and the lack of transformation) is often accepted and affirmed. Re-Envisioning Transformation looks at the possibility of moving toward a vision of transformational theology that is cohesive, unified, broad, effectual, and distinctly Christian. In this book, the contributions of two radically different"theologians of the Christian life" are examined. This provides the basis from which to develop a comprehensive and integrated framework of transformational theology--pointing God's people toward the need to express and live out a distinctly Christian vision.

This is the final volume of this series on "theological dramatic theory" by the great 20th century theologian Balthasar. This series is the second part of Balthasar's trilogy on the good, the beautiful and the true which is his major work. The first series in the trilogy is The Glory of the Lord, and following this Theo-Drama series will be Theo-Logic. In this series "the good" has been the focus. Balthasar maintains that it is in the theater that man attempts a kind of transcendence to observe and to judge his own truth about himself. He sees the phenomenon of theater as a source of fruitfulness for theological reflection on the cosmic drama that involves earth and heaven. This fifth volume is trinitarian, focusing on the mystery of God. He draws heavily on Scripture and many passages from the works of the mystic Adrienne von Spyer. Some of the topics covered include "A Christian Eschotology," "The World is from the Trinity," "Earth moves Heavenward," "The Final Act: A Trinitarian Drama."