CHRISTIAN DRAMA AND APPLICATIONS OF BIBLICAL DOCTRINES (2025)

CHRISTIAN DRAMA AND THE SOCIETY

MOUNT ZION INSTITUTE OF CHRISTIAN DRAMA, 2023

Drama has always been a transformative tool for societal change, spiritual enlightenment, political reformation, and cultural representation. In this book, "Christian Drama and the Society," the author:. Mike Bamiloye delves into the depths of this fascinating subject, exploring the far-reaching impacts and critical roles of Christian drama in our contemporary society. With a careful and insightful examination, the Author presents a comprehensive study of Christian drama and its implications within various societal contexts. This book serves as both an instructional manual and a guide, shedding light on Christian Drama's vital role in our world's spiritual, political and cultural landscape.

Didactic Drama 1:. The Message from the Christian Church

These lectures follow the use of drama as a teaching aid by the Christian Church from Medieval times to the twentieth century. It considers liturgical drama, the mystery and morality plays and T.S.Eliot's Murder in the Cathedral.

Dramatic Enactment of Christian Faith: A Review Essay

2007

CHRISTIAN DRAMA /THEATRE: IT'SDEVELOPMENT WITH REFERENCES TO NIGERIAN CHURCHES

Afro Asian Journal of social sciences, 2019

The awareness of Drama as a dynamic form of communication, and a powerful tool of evangelism is on the increase in Nigeria. Nevertheless, many Christians still hold prejudice against it; considering it as profanity. This study tracks the development of drama from the onset of Christianity in Nigeria, with the view to discover the relationship between drama and Christianity. Primary data were derived from first-hand information through the researcher's personal encounter as one, being a Nigerian Christian who pastors a church and works in theatre. These were supplemented with the secondary data from relevant published papers and books. The study discovers that Drama is not alien to Christianity. This discovery is expected to promote appreciation for Christian theatre arts, and inform a change of attitude, among those who are opposed to the use of Drama for God. The study concludes that Christian drama in Nigeria is already an established form of arts which could not be divorced from the Christian mission objective. Its relevance, however, will only be sustained when all Christians embrace it without further prejudice.

The Greatest Dramatist: A Comprehensive Exploration of Mike Bamiloye's Perspective on Jesus Christ in the Context of Theatrical Expression

International Journal of Humanities Social Science and Management, 2024

This study delves into the intriguing connection between theology and theatrical expression in Christian literature, with a particular focus on the contributions of Nigerian Christian filmmaker and playwright, Mike Bamiloye. The research centers on Bamiloye's unique perspective on portraying Jesus Christ as the Greatest Dramatist through theatrical means, primarily examining his book, "Is Drama in the Bible?". The exploration begins by providing an overview of Bamiloye's background and multifaceted contributions to Christian drama, emphasizing its potential to reveal the core relationship between theology and performing arts. The literature review digs into the theological aspects of drama within Christianity, drawing on the insights of scholars like David Brown and Hans Urs von Balthasar to create a theoretical framework for understanding the role of drama in conveying religious narratives. The core of the research focuses on Bamiloye's book, "Is Drama in the Bible?", exploring concepts such as Paul's Policy on Evangelism, Prophetic Revelation Drama, and Applied Prophetic Drama. The central theme of Jesus Christ as the greatest actor is highlighted, drawing parallels with the biblical narrative in Philippians 2:6-8. The subsequent sections provide a detailed examination of Philippians 2:6-8, portraying Jesus as the Greatest Dramatist. This involves an in-depth analysis of Jesus "being in the form of God" and "taking on the form of a servant." The metaphorical expression of "putting off his clothing" is explored, emphasizing the deliberate shedding of divine attributes in Jesus' acts. The research then examines the theological significance of Philippians 2:6-8, highlighting Jesus' humility, obedience, and sacrificial mission. This passage challenges conventional notions of divinity, reshaping theological paradigms and becoming the bedrock of Christian thought. The culmination of Jesus' dramatization is vividly displayed in his journey to the cross, symbolizing the ultimate sacrifice for humanity's sins. The resurrection serves as the resolution, proclaiming victory over darkness and offering hope to believers. This research contributes to a deeper understanding of Mike Bamiloye's distinctive perspective on Jesus Christ within the context of theatrical expression, enriching theological discourse and unveiling the profound insights of the Divine Dramatist portrayed by Bamiloye.

Invited by God onto the worship stage: Developing missional communities through participation in Theo-drama

Verbum et Ecclesia, 2013

When the front of the church begins to resemble a stage and the preacher, musicians and other leaders act like performers whilst the congregation takes on the role of an audience, then something is wrong with worship. But not only with worship: something is wrong with the church. A church longing to be missional � that is, a church in which all Christians are participants in the mission of God � needs to express that participation in its worship. Theological dramatic theory shows us how the Trinity acts out a grand narrative in creation, redemption and glorification, and invites us to participate in the Story being performed. This same narrative can be present in worship and can invite our immediate participation. But this cannot happen if either God or the congregation is relegated to the role of mere audience. However, when the Story is told and performed in worship and when the worshipping community is able to participate alongside the Trinity in the Theo-drama of worship, then w...

The Third Yes: Invitation, Response, and Collaboration in Dramatic Theology

In this thesis, I position theology and theatre as conversation partners in order to argue that a dynamic, dramatic theology provides a viable and vibrant methodology capable of revealing what Swiss theologian Hans Urs von Balthasar identified as the “fire and light” at the heart of theology. This methodology stands firmly on the foundation of revelation through faith, tradition, and reason, but moves beyond this to dramatic encounter and the possibility of participation in the glory of God. At the intersection of theology and theatre I find three Yeses: divine invitation, human response, and divine/human collaboration or synergos. Using Balthasar’s Theo-Drama as a starting point, I engage with both theological and theatrical texts and practices in order to illustrate that the paradigm of gift as well as the aspects of “entering in,” movement, and embodied, live action are found in both disciplines. Four different approaches are utilised to illustrate the third Yes of divine/human collaboration: covenant, the plerosis of incarnation, theatrical and musical improvisation, and the concept of human interconnectivity in twentieth-century philosophy. Two important texts, the biblical book of Job and Luigi Pirandello’s play, Six Characters in Search of an Author, serve as proving grounds for the presence of the third Yes in both theology and theatre. By allowing the dialectic of divine initiative and human responsibility to play out within the context of drama, I seek to make room for a third way, one which is not biased toward either a theology from above or a theology from below, but one which reflects the ongoing dramatic encounter between divine and human actors.

DRAMA: ESSENTIAL FOR THE GREAT COMMISSION

Atipo ati Alejo Communications , 2022

The different ways of fulfilling the great commission; reaching people with the gospel are many and varied. Surely God wants his blood-bought children to make use of every glorifying means that the Lord wants used that He may be made known to a lost and dying world. One of the methods of evangelism chosen by some is dramatic arts. Due to this, this study investigates drama with the view to discover its potential and biblical basis for its use to achieve the essence of the great commission. Primary data were derived from first-hand information through the researcher's personal encounter as one, being a Nigerian Christian who pastors a church and works in the theatre. These were supplemented with the secondary data from relevant published papers and books. The study discovers that drama is God's potent method of communication with mankind and cannot be ignored in the effective communication of the gospel to the lost world, and in the edification of the saints.

Invited by God onto the worship stage: Developing missional communities through participation in Theo-drama. Verbum et Ecclesia, 2013

Verbum et Ecclesia 34(1), Art. #840, 8 pages. http://dx.doi.org/10.4102/ve.v34i1.840, 2013

When the front of the church begins to resemble a stage and the preacher, musicians and other leaders act like performers whilst the congregation takes on the role of an audience, then something is wrong with worship. But not only with worship: something is wrong with the church. A church longing to be missional – that is, a church in which all Christians are participants in the mission of God – needs to express that participation in its worship. Theological dramatic theory shows us how the Trinity acts out a grand narrative in creation, redemption and glorification, and invites us to participate in the Story being performed. This same narrative can be present in worship and can invite our immediate participation. But this cannot happen if either God or the congregation is relegated to the role of mere audience. However, when the Story is told and performed in worship and when the worshipping community is able to participate alongside the Trinity in the Theo-drama of worship, then worship takes on the ability to form that community missionally. Worship is a habit repeated week after week; therefore, its power to transform a community into a missonal congregation is immense.

Congruence of rituals and theatre. The use of drama for religious ceremony

I have started this research as a response to a pejorative question that religious rituals are merely theatrical, and the personnel involved nothing else but actors; beyond this there is nothing any religion suggests, e.g. healing, divine touch, blessings et.al. This paper is about rituals and their meanings and roles played as in social drama and theatre play. Considering the relationship between ritual and theatre to be reciprocal I will use their functions to evaluate the process of religious ceremonies and the role they play for adherents/participants, as if they would be attending a play. Religious Studies and Drama joint study offers the opportunity to combine two complementary humanities subjects, as both drama and religion are mainstays of cultural practice.