Life of Jesus in the New Testament in the context of "Canonical gospel"

In Christian theology and ecclesiology, the apostles, particularly the Twelve Apostles (also known as the Twelve Disciples or simply the Twelve), were the primary disciples of Jesus according to the New Testament. During the life and ministry of Jesus in the 1st century AD, the apostles were his closest followers and became the primary teachers of the gospel message of Jesus. There is also an Eastern Christian tradition derived from the Gospel of Luke that there were seventy apostles during the time of Jesus' ministry.

The commissioning of the Twelve Apostles during the ministry of Jesus is described in the Synoptic Gospels. After his resurrection, Jesus sent eleven of them (as Judas Iscariot by then had died) by the Great Commission to spread his teachings to all nations.

The calling of the disciples is a key episode in the life of Jesus in the New Testament. It appears in Matthew 4:18–22, Mark 1:16-20 and Luke 5:1–11 on the Sea of Galilee. John 1:35–51 reports the first encounter with two of the disciples a little earlier in the presence of John the Baptist. Particularly in the Gospel of Mark, the beginning of the Ministry of Jesus and the call of the first disciples are inseparable.

Inaugurated eschatology is the belief in Christian theology that the end times were inaugurated in the life, death and resurrection of Jesus, and thus there are both "already" and "not yet" aspects to the Kingdom of God. George Eldon Ladd suggests that the Kingdom of God is "not only an eschatological gift belonging to the Age to Come; it is also a gift to be received in the old aeon."

This approach was first developed by Geerhardus Vos, especially in his 1930 work, The Pauline Eschatology. Later, Oscar Cullmann sought to combine the "thorough-going eschatology" of Albert Schweitzer with the "realized eschatology" of C. H. Dodd. Cullmann suggested the analogy of D Day and V Day to illustrate the relationship between Jesus's death and resurrection on the one hand, and his Second Coming on the other.

The kiss of Judas, also known as the Betrayal of Christ, is the act with which Judas identified Jesus to the multitude with swords and clubs who had come from the chief priests and elders of the people to arrest him, according to the Synoptic Gospels. The kiss is given by Judas in the Garden of Gethsemane after the Last Supper and leads directly to the arrest of Jesus by the police force of the Sanhedrin.

Within the life of Jesus in the New Testament, the events of his identification to hostile forces and subsequent execution are directly foreshadowed both when Jesus predicts his betrayal and Jesus predicts his death.

A gospel harmony is an attempt to compile the canonical gospels of the Christian New Testament into a single account. This may take the form either of a single, merged narrative, or a tabular format with one column for each gospel, technically known as a synopsis, although the word harmony is often used for both.

Harmonies are constructed for a variety of purposes: to create a readable and accessible piece of literature for the general public, to establish a scholarly chronology of events in the life of Jesus as depicted in the canonical gospels, or to better understand how the accounts relate to each other.

Jesus Christ Superstar is a sung-through rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. Loosely based on the Gospel accounts of the Passion, the work interprets the psychology of Jesus and other characters, with much of the plot centred on Judas, who is dissatisfied with how Jesus steers his disciples. Contemporary attitudes, sensibilities, and slang pervade the rock opera's lyrics, and ironic allusions to modern life are scattered throughout the depiction of political events; stage and film productions accordingly contain many intentional anachronisms.

Initially unable to get backing for a stage production, the composers released the score as a 1970 concept album, an immediate success which led to its Broadway stage debut in 1971. By 1980, the musical had grossed more than $237 million worldwide. Running over eight years in London between 1972 and 1980, the show held the record for longest-running West End musical until 1989 (overtaken by Cats).