to the drama that continues in the church as God uses Scripture to address, edify, and confront its readers” (p. 17). The resulting dramatic theology combines the narrative understanding of theology as ecclesial practice with the idea of biblical interpretation as performance in order to conceptualize the task of theology as the continuing drama of the biblical story (p. 22). Significantly, the performance of this “theo-drama” requires not only the intellectual assent of the individual but also the
Page 36