What does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? This book addresses the issue from the Middle Ages to the Modern era and showcases examples of how Christians have represented their biblical narrative.

A theologian and a theatre artist examine both the nature of theatrical performance within contemporary culture and its relationship to Christian life, faith, and worship.

What is the difference between good worship and good entertainment? Too often, people disparage some aspect of worship by calling it "just entertainment" or "just a performance." Others say that they do not need to go to church because they have profound spiritual or even religious experiences at concerts, plays, movies, or dances. How is worship different from these performing arts? How is art different from entertainment? This book looks at the history of the performing arts both in worship and as worship, with particular attention to the attitudes that shape our ideas about both worship and entertainment. Working definitions of words like "art," "excellence," "liturgy," and "play" help to illuminate what different people mean when they use them in conversations about Christian worship. Putting theological, scriptural, and practical writings on worship and the performing arts in conversation with interviews with dancers, musicians, actors, preachers, and liturgical scholars, this volume is intended to help pastors, performers, and everyone who plans, leads, or cares about worship talk with one another in mutually respectful and helpful ways.

With absorbing prose and detailed images, Stephen Fliegel unlocks the secrets of these sacred objects and portrays medieval Christian believers as souls kindred to us-humans striving in their own time to discern and preserve religious meaning and decorum. Fliegel provides a rich understanding of the allegorical images that helped the church to communicate to the faithful through visual narrative and also provides a rich, textured understanding of sacred art and architecture.

Blasphemy and other forms of blatant disrespect to religious beliefs have the capacity to create significant civil and even international unrest. Consequently, the sacrosanctity of religious dogmas and beliefs, stringent laws of repression and codes of moral and ethical propriety have compelled artists to live and create with occupational hazards like uncertain audience response, self-censorship and accusations of deliberate misinterpretation of cultural production looming over their heads. Yet, in recent years, issues surrounding the rights of minority cultures to recognition and respect have raised new questions about the contemporariness of the construct of blasphemy and sacrilege. Controversies over the aesthetic representation of the sacred, the exhibition of the sacred as art, and the public display of sacrilegious or blasphemous works have given rise to heated debates and have invited us to reflect on binaries like artistic and religious sensibilities, tolerance and philistinism, the sacred and the profane, deification and vilification. Endeavouring to move beyond 'simplistic' points about the rights to freedom of expression and sacrosanctity, this collection explores how differences between conceptions of the sacred can be negotiated. It recognises that blasphemy may be justified as a form of political criticism, as well as a sincere expression of spirituality. But it also recognises that within a pluralistic society, blasphemy in the arts can do an enormous amount of harm, as it may also impair relations within and between societies. This collection evolved out a two-day conference called 'Negotiating the Sacred: Blasphemy and Sacrilege in the Arts' held at the Centre for Cross Cultural Research at The Australian National University in November 2005. This is the second volume in a series of five conferences and edited collections on the theme 'Negotiating the Sacred'. The first conference, 'Negotiating the Sacred: Blasphemy and Sacrilege in a Multicultural Society' was held at The Australian National University's Centre for Cross-Cultural Research in 2004, and published as an edited collection by ANU E Press in 2006. Other conferences in the series have included Religion, Medicine and the Body (ANU, 2006), Tolerance, Education and the Curriculum (ANU, 2007), and Governing the Family (Monash University, 2008). Together, the series represents a major contribution to ongoing debates on the political demands arising from religious pluralism in multicultural societies.

Have you stood in front of a painting and thought, What does this mean? The Art of Faith answers this question again and again, with insight, wit, and verve, providing a thorough reference to Christian art through the centuries. Practical and easy to read, this book unfolds the ancient world of Christian images for believers who want to enrich their faith, college students studying art history, and travelers to religious sites. With this book in hand, you can visit museums, churches, or other sacred places and identify a work of art’s style and meaning. Or even explore the signs and symbols of your local church. Whatever your relationship to art or Christianity, open this book when you’re curious about a painting, sculpture, symbol, or other sacred work. It will answer your questions about The Art of Faith.