The world of the fine arts provides paradigms for explaining the role of the imagination in the development of new theologies and the communication of the Christ-event. Although there is but one definite script for a play or an opera, plays and operas admit of widely diverse representations because the script and its characters are imagined differently. For example: Amanda Wingfield, the mother in The Glass Menagerie, has been represented as a rather high-strung woman in one production, and as a serene and gracious lady in another. The script had remained the same in both productions; however, the spirit of Amanda Wingfield had changed because the directors of these productions had not imagined her in the same way. The written script is static, definite, one; the enacted representations, on the other hand, allow for the dynamics of change, diversity, and imagination.1