Communio, 2020, R. 40, nr 4 (212)

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/20564

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Chrześcijańska niechęć do teatru. Linia genealogiczna
Marx, Peter W. (Wydawnictwo Pallottinum, 2020)
The article seeks to trace the Christian tradition of anti-theatrical resentments which is usually traced back to the patristic literature. More specifically, the article argues that theatre and performance becomes a privileged place for negotiating and acting out the denominational differences during the Reformation. While, in particular, Pietists and Puritans openly fought theatre as diablic forces, the Roman church navigated a middle course between social rejection and using theatrical means for their purposes. Especially, the Jesuits and their spiritual practices, developed a more flexible through line. Eventually performes, such as Catharina Elisabeth Velten, fought these attitudes in order to secure the social status of actors and performers.
Chrzest Dionizosa? Mit, kult, teatr i wczesne chrześcijaństwo
Nordhofen, Susanne (Wydawnictwo Pallottinum, 2020)
Dionysos is the central figure for the development of the ancient theatre. He is accompanied by women in an ecstatic mood, which are the model for the chorus. Most of the dramatic plots are inspired by myths of Heroes and demigods. Especially the concepts of cyclical time and arche rule tragedy and cultus as well. These influences could be tracked in various elements of the eucharistie liturgy.
Hans Urs von Balthasar o teatrze i dramacie
Haas, Alois M. (Wydawnictwo Pallottinum, 2020)
In his major work „Theodramatik” the swiss theologian Hans Urs von Balthasar outlines a theology with dramatic categories. The dramatic structure of human actions and intentions points to the existential tendency to transcend oneself. But Balthasar is not only concerned with the affinity of theology for theatrical forms of expression, but, that is the deciding point, revelation itself is a dramatic event for him.
Piękno jako dialog ze światem
Adamkiewicz, Joanna (Wydawnictwo Pallottinum, 2020)
he aim of this article is to show beauty and its dialogue with the world. The author emphasized that art can serve and express beauty, and thus choose religious truth as its subject, presenting it in such a way in order to show the beauty of this truth. Then art will not claim to absolutize its own status. Since in true religious art, there is a perfect synthesis of form and content. Beauty is in perfect harmony with the content, because both of these things present the same transcendent and at the same time inexpressible in words reality. What is more importantly, in such approach, non-religious art is also in some ways religious one that is related to transcendence. This view is the most appropriate possible considering that matter has the trait of holiness, being the God’s creation.
Zapowiedzi Męki Pańskiej w starożytnej tragedii greckiej Alkestis Eurypidesa
Tück, Jan Heiner (Wydawnictwo Pallottinum, 2020)
Not only Greek philosophy, but also ancient tragedies offer connections points for the Christian faith. The motive of dying for others can be interpreted as prefiguration of the cross, as the example of the drama Alkestis by Euripides shows. Euripides combines the motive of dying for others with the motive of overcoming death through a struggle. Both motifs can be entangled in Christology: on the cross, Christ took our place to redeem us, in the Descensus ad inferos he showed his saving solidarity with the dead. The act of revelation of the forgiving love of God is thus realized.
Zbawienie jako dramat w teologii Hansa Ursa von Balthasara
Bokwa, Ignacy (Wydawnictwo Pallottinum, 2020)
The aim of this article is to show the mystery of salvation that Jesus Christ brought in the category of drama in the light of the theology of the Swiss theologian Hans Urs von Balthasar. Balthasar knows the criticism of the usefulness of theatrical categories expressed by F. Dürrenmatt for the theological attempt to express the drama of God and human being. The drama genre that the Basel theologian refers to is a form of art that is not adjusted to a time in which people live without regard to good and evil, and the whole undertaking is outdated and therefore not very promising. The bold attempt taken by Balthasar to open up the world of the dramatic theater for Christian theology deserves the utmost attention.
Znaczenie kategorii Herrlichkeit dla współczesnej eschatologii
Paciorkowska, Agnieszka; Lipniak, Jarosław M. (Wydawnictwo Pallottinum, 2020)
The reduction of eschatology proposed by H. U. von Balthasar brings with itself a chance to completely break with the traditional eschatology. Although, it has not been fully accepted yet, the discussion and its analysis are under way. Undoubtedly, many theologians are under the influence of the thoughts of Balthasar and agree with some of the postulates of theology put forward by Basel theologian, and also reduce their thoughts paying special attention to it. However, the process of implementing the new postulates has not been yet fully introduced. A difficult and at the same time important task on this question remains the translation of the cosmological utterances of eschatology into utterances oriented to personalism, placing the Triune God with all His love and glory at the center of eschatological reflection.

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