Why go to church? What happens in church and why does it matter? The Empty Church presents fresh answers to these questions by creating an interdisciplinary conversation between theater directors and Christian theologians. This original study expands church beyond the sanctuary and into life. Shannon Craigo-Snell emphasizes the importance of liturgical worship in forming Christians as characters crafted by the texts of the Bible. This formation includes shaping how Christians know, in ways that involve the intellect, emotions, body, and will. Each chapter brings a theater director into dialogue with a theologian, teasing out the ways performance enriches hermeneutics, anthropology, and epistemology. Thinkers like Karl Barth, Peter Brook, Delores Williams, and Bertolt Brecht are examined for their insights into theology, worship, and theater. The result is a compelling depiction of church as performance of relationship with Jesus Christ, mediated by Scripture, in hope of the Holy Spirit. Liturgical worship, at its best, forms Christians in patterns of affections. This includes the cultivation of emotion memories influenced by biblical narratives, as well as a repertoire of physical actions that evoke particular affections. Liturgy also encourages Christians to step into various roles, enabling them to make intellectual and volitional choices about what roles to take up in society. Through liturgical worship, the author argues, Christians can be formed as people who hope, and therefore as people who live in expectation of the presence and grace of God. This entails a discipline of emptiness that awaits and appreciates the Holy Spirit. Church performance must therefore be provisional, ongoing, and open to further inspiration.

This assemblage of feminist theologies represents a series of vital entanglements. Chapters are written from different cultures, geographies and discourses and brought together around themes as specific and wide-ranging as immigration detention, hate crime, discrimination, rites of marriage and partnership, and artistic and religious imagination. The contributors variously echo, celebrate, question and contradict each other. Despite the complexity and allied as they are with liberation, decolonial, ecological, queer and other theologies, these perspectives seek not only to confront and resist the problems, oppressions, and omissions of hegemonic theologies but also to realize better worlds.

Why go to church? What happens in church and why does it matter? The Empty Church presents fresh answers to these questions by creating an interdisciplinary conversation between theater directors and Christian theologians. This original study expands church beyond the sanctuary and into life. Shannon Craigo-Snell emphasizes the importance of liturgical worship in forming Christians as characters crafted by the texts of the Bible. This formation includes shaping how Christians know, in ways that involve the intellect, emotions, body, and will. Each chapter brings a theater director into dialogue with a theologian, teasing out the ways performance enriches hermeneutics, anthropology, and epistemology. Thinkers like Karl Barth, Peter Brook, Delores Williams, and Bertolt Brecht are examined for their insights into theology, worship, and theater. The result is a compelling depiction of church as performance of relationship with Jesus Christ, mediated by Scripture, in hope of the Holy Spirit. Liturgical worship, at its best, forms Christians in patterns of affections. This includes the cultivation of emotion memories influenced by biblical narratives, as well as a repertoire of physical actions that evoke particular affections. Liturgy also encourages Christians to step into various roles, enabling them to make intellectual and volitional choices about what roles to take up in society. Through liturgical worship, the author argues, Christians can be formed as people who hope, and therefore as people who live in expectation of the presence and grace of God. This entails a discipline of emptiness that awaits and appreciates the Holy Spirit. Church performance must therefore be provisional, ongoing, and open to further inspiration.

The struggle for justice is ongoing. In answering the biblical call to act justly and love mercifully, can Christians cross lines of privilege to walk humbly not only with God but with their marginalized neighbors as well? No Innocent Bystanders looks at the role of allies in social justice movements and asks what works, what doesn't, and why. It explains what allies legitimately can accomplish, what they can't, and what kind of humility and clarity is required to tell the difference. This book is a start-up guide for spiritual or religious people who are interested in working for social justice but don't know how or where to begin, drawing on the lessons of history, the framework of Christian ideas, and the insights of contemporary activists. It offers practical guidance on how to meaningfully and mindfully advocate alongside all who struggle for a more just society.

This thoughtful, uniquely formatted volume takes a serious look at the need for accessible, pastorally relevant theological reflection on the chief mysteries that inform Christian living today. The book addresses four specific Christian doctrines: creation, Christology, sin, and church, offering historical background and systematic framework for understanding what is at stake in each for contemporary Christians. Further, each chapter presents the reader with a discussion, and an example, of a basic tool used in thinking through the Christian faith theologically. The chapter on creation involves biblical hermeneutics; the chapter on Christology explains systematic theology; the chapter on sin describes differences between Protestant, Roman Catholic, and liberation theologies. The overarching framework of the text also introduces the reader to postliberal narrative theology and then moves into how this type of theology can be developed in current pastoral settings into a vision of theology as performed within the lives of Christians.