Harris's Theater and Incarnation PDF
During this lucid and interesting e-book, Max Harris argues that either biblical and dramatic texts may be approached with a theatrical mind's eye. He deals clean scholarly insights into performs and theatrical concept around the centuries; while, he vividly renders the comedian strength of the Gospel narratives. "Theater and Incarnation" strikes provocatively and mischievously among the flesh-and-blood global of the theater and the notice turn into flesh in Jesus of Nazareth.
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Additional resources for Theater and Incarnation
But, he argues, it is more than the film: Not even cinema, even in its 'epic' wide-screen form, has been able to match, never mind excel, the dramatic possibilities, the intensities of contrast and irony and emphasis, made possible by such simultaneity of action - largely because the camera would have to move so far back (to get everything it wanted in the same sharpness of focus) that everything would be swamped in a plethora of detail. The Cornish play-makers were spared this complication. Neither were they crippled, as again the filmmakers are, by unweildy conventions of realistic presentation.
E. Piscator, The Political Theatre (New York: Avon, 1978) pp. 119-20; d. C. D. Innes, Erwin Piscator's Political Theatre (Cambridge: Cambridge University Press, 1972) p. 84. The Spiritual Exercises of St Ignatius, trans. L. J. Puhl (Chicago: Loyola University Press, 1951). Numerical references are to the sections. W. Hendriksen, New Testament Commentary: The Gospel of Matthew (Grand Rapids: Baker, 1973) p. 352. C. E. B. Cranfield, The Gospel According to Saint Mark (Cambridge: Cambridge University Press, 1977) p.
They have found funny the very thing for which Christ, in all seriousness, is dying. The playwright has transformed his audience from 'mere spectators' to guilty participants even as he displays God's gracious solution to their guilt. One of the standard objections to the theatre on the part of shocked Christians, be they Puritans or early Church Fathers, has been that 'the indecencies of the spectacles ... involve actors and audience in substantially the same guilt,' for the audience, by attending and enjoying and applauding, approves, in effect, what it sees, and so shares in the sins it beholds.
Theater and Incarnation by Harris