JESUS a new vision: Spirit, Culture, and the life of discipleship

Marcus Borg

SPCK.

Essays in Early Roman Liturgy (Alcuin)

Willis, G.G.

Religion & Spirituality

English Prayer Book, 1549-1662

Arthur Michael Ramsey

From The Preface: This play, within the limits imposed by a cast of six, attempts to portray the Passion of our Lord Jesus Christ from three points of view. Firstly, it is the story of something that happened. I have taken large liberties with the Gospel narrative, finding myself forced to compress violently, and even in some cases to put phrases on lips where they do not belong, in order to get the facts into the play. The actors step into and out of the historical characters. Thus, when the third man represents Pilate, he acts the part as long as the text demands, and then forgets about it. There is no necessary continuity between the various characters played by one actor. Secondly, the story of the Passion is one of universal significance, speaking timelessly to all mankind. Here the cast act as a chorus, as a unit with a number of voices rather than as a group of individuals. These passages require a formal presentation both in speech and movement. Thirdly, the Crucifixion and Resurrection are events of personal significance speaking intimately to the individual in the secret places of his own soul, and urging him to action here and now. So in the play there is a third level of action which tries to show the modern equivalent of the events or ideas brought out in the other themes. For the most part these sequences are caricatures.

Christ in the Concrete City: Play

P.W. Turner

Church in the New Testament Period

Schlatter, Adolf

God's Missionary (Dohnavur Books)

Amy C. Carmichael

Toward Jerusalem (Dohnavur Books)

My God, My Glory

Eric Milner-White

New Testament Background: Selected Documents

Barrett, CK

Peter: The Adventures of a Chorister, 1137-1937

Sydney H Nicholson

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