Theo-dulâ is the drama of salvation that the Triune God plays on the stage of human existence. Of this salvation drama, the Father is the playwright or author; while the Spirit, the director; and the Son, the main actor. Following the script written by the Father-playwright, the Theo-dulâ unfolds around the life and mission of Jesus Christ, the Son-actor, who embodies the Father’s script, playing his role-mission before the world-audience, under the guidance and direction of the Holy Spirit-director. Just as any poetic verse or dramatic script is a self-expression of the artist, the script of the Theo-dulâ expresses the mind, heart, and passion of the Father-author.
But the script is not meant simply to be written and then shelved. It is meant to be performed and its dramatic actions shown. For this, the Father-author needs and depends on the Son-actor who embodies the script on the world stage. The Son-actor then is the Father-playwright’s self-expression. Still, it is the Father-author who determines all the characters of the play, and thus the Son-actor, who plays the mission of Jesus Christ, in turn depends on the Father-playwright as origin and source of his being and mission.
Both the Father-author and the Son-actor, however, depend on the creative work of the Spirit-director who interprets the script for the actor and guides him to perform well so that through his performance, it is the Father’s mind, heart, and passion that is shown and portrayed in the Theo-dulâ. In turn, the Spirit-director is also dependent on both, for it is the Father’s script that is acted out and the Son-actor who acts it out. It is acted out and presented on the world stage not merely for the sake of the performance, but for the good (salvation) of the world-audience who, more than just being passive, are really active co-players in the Theo-dulâ.
In short, the Theo-dulâ is a Trinitarian production where the Father-playwright, Son-actor and Spirit-director mutually determine each other and are dependent on each other, acting together to stage the salvation drama, the Theo-dulâ, on the world theatre for the good of the world audience.
 TD I, 268-81.
 Ibid., 281-97.
 Ibid., 298-305.
 Ibid., 308-13; TD II, 91.