Exploring Drama as Ministry (Chapel of the Redeemer)

Why Drama?

Theatre Basics – The Acting Muscles

Relaxation        Concentration            Observation              Imagination            Memory

Body & Vocal Warm Up Ideas

Name, Sound, Action

One by one, individuals in the circle say their name with a sound/action. Everyone in the circle repeats it, trying to copy exactly how it was said and done.

Fish Tank

Everyone moves about the space as if you are fish in a tank. Do not bump into one another. Copy one another. Work at being the same. Stop and start using claps, or learn to do stop and start merely by paying attention to each other. This is a GREAT exercise to prepare them for Playback as it helps the team learn to freeze together and pay attention to one another. NOTE: There are a thousand ways to modify this game. Ie. change the style or speed of your walk, or emotions; make funny noises, use vocalizing warm up sounds, say your name over and over or recite a verse; freeze at different levels, work on making eye contact with others as you pass them, a leader calls out body parts to connect/freeze. Etc!)

Emotion sculpture 

Everyone makes and individual emotion sculpture. Then make sculptures of 3-5 people. This can be done with other themes, like Sports, Locations…etc.

Diamond Ensemble

Similar to the famous acting “mirror exercise,” 4 people stand in a square facing the same direction and follow the person in front. When the person in front turns to the right or left, they pass the leadership on to another person who is now in front. 

Rules: 

1.     Move SLOWLY exploring levels.

2.     No movements in front of body.

3.     Keep face forward. Don’t look extreme up or down or the people behind can’t see you.

4.     When leader’s face turns more than ¼ turn to right or left they pass the leadership to the next person.

Forms Explored Today: 

Biblical Storytelling, Readers Theatre, Scenes/Sketches, Playback, Enacted Prayer

TOP 4 RECOMMENDED BOOKS 

Pederson, Steve.Drama Ministry: Practical Help for Making Drama a Vital Part of Your 

Church.Grand Rapids, MI: Zondervan, 1999.

McCusker, Paul. The Ultimate Youth Drama.London: Monarch Books, 2001. (Includes a number of scripts!)

Campbell, Drew. Technical Theatrefor Nontechnical People. New York: Allworth Press, 2004.

Shurtlef, Michael. Audition:Everything an Actor Needs to Know to Get the Part.New York: Bantam Books, 1978. 

NEUTRAL TEXT

Dialogue # I

A: Hi. 

B: Hello. 

A: How's everything? 

B: Fine. I guess. 

A: Do you know what time it is? 

B: No. Not exactly. 

A: Don't you have a watch? 

B: Not on me. 

A: Well? 

B: Well what? 

A: What did you do last night? 

B: Nothing. 

A: Nothing? 

B: I said, Nothing! 

A: I'm sorry I asked. 

B: That's all right. 

(I) a casual pickup (2) husband A, wife B meeting after a trial separation (3) father A and daughter B after she's been out far past her curfew the night before. The setting is breakfast. (4) college friends meeting after each suspects the other of dating their boyfriend (5) B about to murder A (6) lovers meeting for only a few moments (7) before a double suicide (8) A about to rob B. 
OTHER RECOMMENDED BOOKS 

Lane, Stewart F. Let's Put On a Show! Theatre Productionfor Novices. Portsmouth, NH: Heinemann Press, 2007.

Wilson, Andy. Making Stage Props: A Practical Guide. Wiltshire, England: Crowood Press Ltd, 2003

Kelly, Thomas. The Backstage Guide to Stage Management: Traditional and New Methods for Running a Show from First Rehearsal to Last Performance. New York: Backstage Books, 1999.

Hagen, Ute. Respect for Acting.New York: Wiley Publishing, 1973.

Salas, Jo. Improvising Real Life: Personal Story in PlaybackTheatre. New York: Tusitala

Publishing, 1999.

Converse, Terry John. Directingfor the Stage: A Workshop Guide of 42 Creative Training

Exercises and Projects.  Colorado Springs, CO: Meriwether Publishing, 1995.

Laughlin, Buzz. The Playwrights Process, Learning the Craft from Today’s Leading Dramatists. London: Back Stage Books, 1997.

Field, Syd. Screenplay,The Foundations of Screenwriting, a Step-by-Step Guide from Concept

to Finished Script. New York: Bantam Dell/Random House, Inc, 2005.

Staeheli, Alice M. Costumingthe Christmas and Easter Play: With Ideas for Other Biblical

Dramas.Colorado Springs, CO: Meriwether Publishing, 1988.

LINKS

You Can Singwith Impact, Yvonne DeBondidownloadable vocal exercises to strengthen your speaking and singing voice.http://youcansingwithimpact.com/

http://www.playbacknet.org