Much like the book of Revelation, Joel L. Watts' Praying in God's Theater aims to pull readers into a deeper spirituality to confront the daily struggles of Christian life. Drawing from the rich well of Christian mystics and theologians from across the ecumenical experience, Watts uses the Apocalypse to build a series of prayers and devotions aimed at increasing what he identifies as the contemplative unity and the certain unity between the individual and Christ. He urges a radical vision of the prayer and the sacrament of the Eucharist. Each chapter of Revelation is considered, explored, and finally used as a basis to draft prayers. Added to this is an application commentary that explores ancient liturgical practices similar to the scenes in Revelation while looking at Revelation in a mystical manner. Watts offers Revelation as an early liturgy, using this proposition as a catalyst for building prayers and a vision of life based on the Eucharist as the emblem of how we are to approach God. What emerges is a profound view on how we envision Scripture, prayer, and the book of Revelation.

A collection of stories relating to the sins of famous and historical figures, including an account of the death of Marlowe.

In Shakespeare on Theatre, master acting teacher Robert Cohen brilliantly scrutinises Shakespeare's implicit theories of acting, paying close attention to the plays themselves and providing a wealth of fascinating historical evidence. What he finds will surprise scholars and actors alike – that Shakespeare's drama and his practice as an actor were founded on realism, though one clearly distinct from the realism later found in Stanislavski. Shakespeare on Acting is an extraordinary introduction to the way the plays articulate a profound understanding of performance and reflect the life and times of a uniquely talented theatre-maker.

At the age of thirty-nine, Christian theologian Todd Billings was diagnosed with a rare form of incurable cancer. In the wake of that diagnosis, he began grappling with the hard theological questions we face in the midst of crisis: Why me? Why now? Where is God in all of this? This eloquently written book shares Billings's journey, struggle, and reflections on providence, lament, and life in Christ in light of his illness, moving beyond pat answers toward hope in God's promises. Theologically robust yet eminently practical, it engages the open questions, areas of mystery, and times of disorientation in the Christian life. Billings offers concrete examples through autobiography, cultural commentary, and stories from others, showing how our human stories of joy and grief can be incorporated into the larger biblical story of God's saving work in Christ.

Specially written for students and enthusiasts, David Wiles introduces ancient Greek theatre and cultural life.

This Companion offers an overview of the beliefs, doctrines, and practices of the key philosophical concepts at the heart of Christian theology. The sixteen chapters, commissioned specially for this volume, are written by an internationally recognized team of scholars and examine topics such as the Trinity, God's necessary existence, simplicity, omnipotence, omniscience, omnipresence, goodness, eternity and providence, the incarnation, resurrection, atonement, sin and salvation, the problem of evil, church rites, revelation and miracles, prayer, and the afterlife. Written in non-technical, accessible language, they not only offer a synthesis of scholarship on these topics but also suggest questions and topics for further investigation.

From the view that God does not intervene in the world to the view that God is the only effective agent in the working of his will, Terrance Tiessen identifies ten views of providence and adds his own.

From the 1960s to the present day, John Guare’s plays have ranged from one-act to cyclic, realistic to surrealistic, naturalistic to experimental, and tragic to comic dramas. This study’s approach to the cornucopia the playwright himself provided when in an interview he gave a fundamental aesthetic principle of his craft. Like a person—and Guare’s plays develop the personal as well as the artistic self—a play must be grounded in reality; only then can it soar. The ground is traditional theatre with characters, no matter how larger than life they can be, and plot, no matter how illogical it can be. The soaring is in interrupting the action with monological narratives and musical interludes, bringing characters back from the dead, and having the action take hairpin turns into a mixture of genres and styles, modes and tones. In verbal and visual images, the flight invokes works by authors as varied as Aeschylus and Whitman, Dante and Feydeau, Verdi and Romberg. Soaring from ground to new ground, the theatre creates the transmission of the American heritage in Lake Hollywood, an idealism corrupted by a fraudulent American Dream in Lydie Breeze, and the recovery of the past in A Few Stout Individuals. As Guare said about his plays: they “interconnect.”