in which Jesus accepts his cross “as the way of disarming the powers that oppress us, and in the vindication of his nonviolent witness in the resurrection.”51 Christological considerations, but also Trinity and creation, are therefore clearly central to the performative ethic of the church. Wells’s leading insight is that the practice of “overaccepting” or improvising in theatrical drama provides a model for the formation of Christian imagination.52 Within the world of theater, the art of “overaccepting”