The Gospel Truth as Re-enactment
The world of the fine arts provides paradigms for explaining the role of the imagination in the development of new theologies and the communication of the Christ-event. Although there is but one definite script for a play or an opera, plays and operas admit of widely diverse representations because...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Cambridge Univ. Press
1976
|
| In: |
Scottish journal of theology
Year: 1976, Volume: 29, Issue: 4, Pages: 311-333 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | The world of the fine arts provides paradigms for explaining the role of the imagination in the development of new theologies and the communication of the Christ-event. Although there is but one definite script for a play or an opera, plays and operas admit of widely diverse representations because the script and its characters are imagined differently. For example: Amanda Wingfield, the mother in The Glass Menagerie, has been represented as a rather high-strung woman in one production, and as a serene and gracious lady in another. The script had remained the same in both productions; however, the spirit of Amanda Wingfield had changed because the directors of these productions had not imagined her in the same way. The written script is static, definite, one; the enacted representations, on the other hand, allow for the dynamics of change, diversity, and imagination.1 |
|---|---|
| ISSN: | 1475-3065 |
| Contains: | Enthalten in: Scottish journal of theology
|
| Persistent identifiers: | DOI: 10.1017/S0036930600042757 |