Adding Drama to Your Ministry | May 2, 2009 | CITA Singapore
Welcome...........................................................................................................Paul David
TCA College, School of Creative Arts, Acting Dean
Kimberly Creasman
CRMS & TCA College Adjunct Faculty in Theatre Arts
Drama Basics & Warming Up page 3-4
Stage Directions& Vocabulary………......................................................……….Dick Su
Every Nation Church
“Why Drama’s Potential is Under Realized in Ministry”
Exercise: The Mirror ........................................................................................ Victor Yen
Grace Assembly of God
Exercise: Diamond Ensemble ....................................................................Deniece Foo
Charis Christian Church
Exercise: The Machine ................. ...................................................................Alvin Tan
Church of Our Saviour
Psalm 23 Antithesis* Discipleship Journal, issue 60, 1990…………………… Entire Company
Readers Theatre page 5-7
Nicotene Watchers, out of print …..….…..…..…..…..…........…..Serena Ho & Jacke Tan
Church of Our Saviour
Selection of Daniel 2 …..….…..…..…..…..…...…..…..…..….…..…..…..…..…....Dick Su
Deniece Foo, Charis Christian Church
Abraham Yap, Church of Our Saviour
Nicodemus Chan, Grace Assembly of God
Luke 1:39-56…..…..…..…..…..…..…..…..……..…..…..…..…..……………...…..Abraham
Biblical Storytelling page 8-9
“How Drama Has Affected My Walk with Christ” ……………….…….…... Khimmy Lim
Care Community Church
The Art of the Holy Backrub, by Tom Long, Friends of the Groom……….…... Kimberly
Slice of Life Sketches
Emcee…..…..…..…..…..…..…..…..……..…..…..…..…..…………….…...….. Edna Zhang
Church of Our Saviour
The Ledger People ………..……………………………………………..Peter & Diana Loke
Selectscripts: Marriage(Spiral-bound) Church of Our Saviour
By Paul Johnson Nicole Johnson
Broadman & Holman Publishers, February 1999.
TEA BREAK
The Relationship Seminar ………..…………………………………… Alvin & Deniece
Personalized Productions, K. Creasman
Don’t I Know You? ………………………………………………. Victor, Edna & Peter
The Worship Drama Library, Volume 9: 12 Sketches for Enhancing Worship(Paperback)
Video:Man on the Street Interviews……………………………………… Lionel Chok
Church of Our Saviour
Biblical Sketches & Monologues
Teaching & Discussion …….……….…...…….…...…….…...…….…..…….…... Kimberly
Video:Traveling Light: The Rancher from Mark’s Gospel, pg10 ….… Christine Yong
Grace Assembly of God
“Developing a Drama Ministry Team in Your Church”…..….…..……...…..Abraham
STRETCH BREAK
Playback & Enacted Prayer page 11-14 Team
Dick, Kimberly
Agnes Law, FCBC
Anne Chua, Trinity Christian Centre
Jerry Louis, Trinity Christian Centre
Prophetic Drama Deanna Poon & Drama Team
Church of Our Saviour
Review
Video Daniel 2: An Overview of Styles …..……....…..…………...……......….. Company
NIV
Closing & Evaluation page 20 ………....…..…………...……......…..Deanna
Drama Team Leader
Church of Our Saviour
Post Workshop Q&A
15 minutes
Leading/Starting a Drama Ministry…..….…….……….……….…Victor, Nico, Deniece
Center House Left
Q&A/Clarification on Various Styles…….……….………..…………….…. Dick, Serena
Front Rows Right
Playback Q&A…..…………….…..………………….……….….………..… Playback Team
Stage Right
Prophetic Drama & Visual Arts Q&A……….……….……….…….…Deanna, Abraham
Back of House Right
Other Questions or if you’d like prayer……….……….……….……………Peter, Diana
Tech Booth & Khimmy Lim
Power Point Operator
TCA College Creative Arts courses……….……….…….….… Paul David, Ella Khekho
Lobby
Other Resources & Training with CRMS
Registration Table, Lobby
Stage Directions & Vocabulary
(Audience)
blackoutwhat happens when you turn all the stage lights off.
blocking the movement of the actors onstage.
calls the announcements made backstage (usually by the stage manager) telling cast and crew how many minutes remain before curtain time. Also means the specific time that the cast and crew must arrive at the theatre.
calling a showthe process of calling out the lighting, sound, and scene-change cues during a performance; usually done by the stage manager over a headset.
cue, “pick up the cues” Something that happens at a particular point in the show, such as a change of lighting, scenery, or other technical event. Also used to describe the verbal command to do that thing
distressingThe process of making a costume, prop, or piece of scenery look old and weathered using paint, dye, dust, or brute force.
flat paintAvoids “bounce.”
flatsvertical walls of scenery.
dropsa flat piece of fabric, generally painted, that forms part of the scenery.
legsdrapes that hang to the side of the stage, hiding the backstage area.
maskingThe draperies or flats that hide backstage from the audience's view.
Go(the magic word) The universal way to tell someone to do their thing.
props any items that could be carried by an actor in the course of a show.
runthe number of performances for a particular show.
setthe constructed ‘world’ on stage where the play takes place.
speciala lighting instrument that is used to light a single, isolated person or thing.
strike to take apart a show after the last performance; also, to remove any itemfrom the stage.
wingsspace on the stage that is not visible to the audience.
Warm Ups
Mirror & 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. It can be quite worshipful, if approached as a way to worship with you’re entire body rather than just your hands/brain/voice. It’s easy to learn, and looks choreographed. It can be done to a special piece of music - with lyrics, or it can be done without music as the leader can use sounds or phrases or words as they move, and other actors echo (see the “Narrative V” form of playback as a variation).
Rules:
- Move SLOWLY exploring levels.
- No movements in front of body.
- Keep face forward. Don’t look extreme up or down or the people behind can’t see you.
- When leader’s face turns more than ¼ turn to right or left they pass the leadership to the next person.
The Machine
Psalm 23: Antithesis
Marcia K. Homok, Discipleship Journal, issue 60, 1990.
The clock is my dictator, I shall not rest.
It makes me lie down only when exhausted.
It leads me into deep depression.
It hounds my soul.
It leads me in circles of frenzy for activity’s sake.
Even though I run frantically from task to task,
I will never get it done.
For my “ideal” is with me.
Deadlines and my need for approval, they drive me.
They demand performance from me, beyond the limits of my schedule.
They anoint my head with migranes.
My in basket overflows.
Surely fatigue and time pressure will follow me all the days of my life.
And I will…dwell……in the bonds……….of frustration…………
For….e….…ver.
Presentational Theatre, Interpreter’s Theatre, Theatre of the Mind
What you hear doesn’t have to be seen. An art form different from conventional drama or storytelling. Uses all literature, not merely scripts.
This is a form that can be used and approved of in probably every church. Especially if you start by using the Scriptures as your text.
Paying attention to details – being exact and picky about “clean” and “sharp” beginnings and endings will earn your credibility and give you an invitation or open door to do more drama.
NOTICE the following about the performances:
The use of the notebook as a script and as prop. How actors hold the notebook.
How to begin (entrance, opening the “curtain,” neutral position)
How to end (closing the “curtain”)
Forefinger on your text, and knowing the cues.
Beginning lines with your face out of the notebook.
“Off Stage Focus.” Choosing clear focal points in the audience to react to.
Use of levels. Vary the ‘picture” on stage.
Being in and out of a scene. (to exit move or face upstage, bow out)
Methods to give meaning or emphasis words
Echo
Choral line (All)
Split line to be said by actors, (…/…)
Split word delivery (one-word-per-actor-in-succession)
Repeated line
Fade in/Fade out line
Pause before, or after
Vocal contrasts. Volume levels or pacing (speed of delivery)
Blocking and line delivery
Say line before you cross
Say line while you are crossing
Say line after you have made the cross.
More info about Reader’s Theatre: www.readerstheatredigest.com
Sample Readers Theatre Script: The Message
Sample Readers Theatre Script: The Message
1: Luke 1:39-56
[1 & 3 stay bowed out when 2 begins the story]
2: Mary didn’t waste a minute. She got up and traveled to a town in Judah in the hill country, straight to Zachariah’s house, and greeted Elizabeth.
[3 raises head to become/react as Elizabeth]
1: When Elizabeth heard Mary’s greeting, the baby in her womb leaped. She was filled with the Holy Spirit, and sang out exuberantly,
3: “You are so blessed among women,
2/3: “And the baby in your womb is also blessed!
3: “And why am I so blessed that the mother of my Lord visits me? The moment the sound of your greeting entered my ears, The babe in my womb skipped like a lamb for sheer joy.
2/3: “Blessed woman, who believed what God said,
3: “Believed every word would come true!
2: And Mary said,
1: “I’m bursting with God-news! I’m dancing the song of my Savior God. God took one good look at me, and look what happened--- I’m the most fortunate woman on earth! What God has done for me will never be forgotten.
2/3: What God has done for her will never be forgotten.
[Even with the entrance of 2 & 3 in the lines that follow, 1 should deliver the lines naturally as if they are not joining her]
1: The God whose very name is holy, set apart from all others. His mercy flows in wave after wave on those who are in awe before him.
1/2: He bared his arm
1/3: and showed his strength,
1: scattered the bluffing braggarts. He knocked tyrants off their horses pulled victims out of the mud.
1/2: The starving poor sat down to a banquet;
1/3: the callous rich were left out in the cold.
1: He embraced his chosen child, Israel; he remembered and piled on the mercies, piled them high.
[pause]
ALL: It’s exactly what he promised!
1: Beginning with Abraham, and right up to now!
[repeat louder, getting back to beginning position]
ALL: It’s exactly what he promised,
1: Beginning with Abraham, And
2: Right
3: Up
1: To
ALL: Now.
[beat, they close notebooks, in the beg. position, heads bowed, 1 looks up]
1: Exactly what he promised!
2: Mary stayed with Elizabeth for three months and then went back to her own home.
3: This is the Word of the Lord.
ALL: Thanks be to God.
Storytelling the Scriptures
Using the text of Scripture, but telling it as if you were an eyewitness.
This practice is rooted in a communal process of internalization through scholarly inquiry and prayer.
We encourage varieties of expression and presentation of the sacred stories in oral, written and communication systems. There are many kinds of biblical storytelling from midrash, to contemporization, to first person monologues.
We have discovered biblical storytelling as a spiritual discipline that involves first committing a narrative text of scripture to deep memory (not memorizing but "internalizing"the story as images and feelings) and then engaging with the text in a lively "telling," a sacred act that binds teller and listeners in community.
Preparation
· Find Characters& Locations- Using consistent places in the space for locations and characters in the story.
· Find Emotions – in the text, or implied.
· Find Key words or phrases
· Break the text into “Beats” or scenes
Presentation
Presenting a story from the Bible borrows many techniques from acting, yet in many ways it is quite a distinct art form. Instead of solely taking on one character, the storyteller describes the entire scene in the imagination of the audience. Because storytelling is usually done without many propsor sets, this requires the storyteller to visualise the scene of the story in order to describe it physically whilst telling the story. A number of techniques may be used:
· Reacting– to what you’re saying and seeing.
· Gesturing- Pointing or gesturing to show the audience where objects are in the imaginary scene.
· Miming- Interacting with things or characters to give them a tangible reality.
· Acting Out- Demonstrating events or actions whilst talking about them.
· Characterization- Using different tones of voice/accents or different stances to distinguish different characters and to give them depth and meaning.
· Interacting with the Audience.
Types of Biblical Storytelling
Single Person Performances
Much of Biblical Storytelling is done as a single storyteller learning one story from the Bible and performing it:
· when the Bible passage would normally be read (e.g. in Church meeting)
· as a special drama for an occasion (the death and resurrection of Jesus for an Easter event)
· in a meeting of storytellers to share stories
Epic Storytelling
At events where storytellers are gathering together, an Epic Storytellingmay be set where different parts of the longer story are distributed to those coming together before the gathering and the epic story is told at the event with each of the storytellers telling their sections.
Ensemble Storytelling
In a theatrical Biblical Storytelling performance with multiple storytellers, there may be only one speakingstoryteller at a time, so the other storytellers may be used to enhance the telling in the following ways:
· by being non-verbal characters in the scene
· to be part of the set
· lines could be distributed or said in unison for dramatic effect by adding a soundscape (e.g. cheering, mourning, laughing or making sound effects)
Notes from Wikipedia as posted by The Backyard Bard, Robert & Simone Turnbull in Australia. www.thebackyardbard.com& Bruce Kuhn who has taught workshops in Singapore. www.brucekuhn.com
Complimentary Script:
Scene 12 The Rancher Who Hoses Her Pigs
Adapted by Sally Loh, Easter 2004
fromTraveling Light, Lawrence Enscoe, Lillenas Publishing Co. (out of print)
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[She enters with a large tent-type free standing sign “Gerasene Shore.”TRAVELERS move from DSC steps to USR]
Wah lao eh! I saw them sail across from over there. Don't look like local. Landed here on the Gerasene shore. Got off the boat... They don't know what hit them man! He came yelling out of the kampong graveyard. Xiao one, I think got kwee in him. Sleeps in the cemetery. No body can hold him down - bicycle chain also cannot tie him up. Not like we never try. 10-20 times we lock him up, he broke the locks. The chain also broke. Wah lao! Even the butcher cannot stop him. No one.
Wah lao, can hear him from next kampong lor. Day and night, barking like gou. Bor chang kou. Bloody somemore, no no, not swearing. He got blood allover - like he knock his stupid head on tombstone!
But wah lao, he from there also can see Jesus on the sea. Wah, started kao pe, kao bu. Run like hell towards Jesus. Then fall down on his knees in front of Jesus. Shouted "What you want?? Jesus, Son of God?? Stop torturing me lah! !" But wah lao, Jesus even faster than him. He already order the kwee to get out. Wah he said "Come out now" and he also asked the kwee "What is your name?" Then the thing shout "Qian qian wan wan, because there is a lot of us in here ah!!" Then wah lao, the kwee started crying and wailing for Jesus not to banish them from Singapore.
Then Jesus saw our pigs. Our tir, quietly eating in one comer. The kwee started shouting at Jesus, "Send us to the pigs, send us to the pigs!"
[SFX pigs]
Sue me if I bluff you, but Jesus said ok and the kwee (or should I say kwees?) jumped into the tir! Wah lao, the pigs went mad!
[Cast joins the SFX of Pigs and runs from USR to DSL jumping off the edge of stage. From here they begin spreading out for passing out bread & fish]
They crashed through the fences, rushed into the sea, and drowned! Two thousand pigs you know! Wah, we damn pissed off an went to the kampong and told every body. A whole bunch of them kapoh lah, and came out to see Jesus and the xiao nang - sitting there, wearing clothes, not xiao already. Those of us who saw the whole thing started spreading the story of the kwee and the tir.
That was also when we told Jesus to get lost ah. They went back on their boat and the ex-mad man begged to go with them, but Jesus told him to stay put. “Balik kampong,” he said, “Tell your people what happened to you. Tell them how God had mercy on you.” So the man ran off and spread the story all over the kampong. And every body who heard, was amazed!
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Playbackis a form ofimprovisational theatre. Improvisational like “theatre sports” or the famous TV show, “Who’s Line is it Anyway?” Only Playback has a purpose beyond merely entertainment.
“Playback Theatre aims to create a ritual space where every voice and any story - however ordinary, extraordinary, hidden or difficult - might be heard and told. It is a place where each persons uniqueness is honored while at the same time building and strengthening our connections to each other as a community of people.” – Centre for Playback Theatre*
“Playback offers a forum for the Holy Spirit to speak truth into the hearts of our audiences. In open non-threatening exchange, we can engage any audience anywhere, in any culture, to hear their stories, find out their issues, and share our authentic stories of what gives meaning and hope to our lives!” – Kimberly Creasman
Playback:The Players
Actors– up to 6 stand upstage center in a line. Usually with stools or boxes to sit on. When a teller is telling his/her story, they sit. As they are cast for the play, they stand. After each play, or“offering”is finished, the actors pause, then look to the teller as if they are giving it to the teller. This is called the acknowledgment.It’s important for the teller to feel safe when watching their story.
Conductor– The on stage emcee or director for the performance. Like the host of a TV talk show, she/he warms up the audience, invites people to share their feelings, impressions, stories. When enough of a story has been shared, the actor’s cue is, “Let’s watch.”When the piece is finished Conductor asks teller how they felt about this “offer.”
Teller– An audience member. Sits in chair between the “conductor” and the actors. Teller picks which parts the actors will play.
Musician– Sits on ground stage left opposite the conductor/teller. Adds music to feed the mood of the story…sometimes brought in throughout the story too. As the actors are setting up[setting the stage for the scene, after the interview], the music sets the mood. The actors freeze when ready then music stops and then the action begins.
Playback: The Setting
Cloth Tree. USR behind the conductor
Boxes/Chairscan also be used in scenes to create levels.
Playback Theatre: The Forms
Use these to warm up your audience or as a break inbetween longer scenes.
Fluid Sculpture
Someone offers an experience or feeling. The actors begin one at a time to form a “sculpture” of the various aspects of essence of that feeling. Bodies move with sound to give back the teller’s feelings.
These can be used between longer stories to provide a break, or to go further with themes that have emerged.
Pairs
Used when someone tells of mixed feelings, an experience of being pulled between two contrasting feelings. Actors stand in pairs, one behind the other and each takes one of the feelings to portray. The pair furthest from the teller goes first.
In addition to Conventional Enactment Scenes, where a story (with a natural literary “arc”) is merely improvised, here are some of the other forms that can be used to “playback” stories.
Freeze Frame Story or Tableaux Story- A story retold in a series of titles with the actors making instant tableaux in response to each title.
3 Sentence Story– The conductor gives 3 sentences to sum up the story, and actors portray a sentence at a time (freezing as tableaux at the end of each, so that the conductor can introduce the next sentence). After the 3rdscene the actors freeze, then look to the teller. This form helps beginning playback teams learn to recognize the structure of a person’s story, or learn to hear the essence/main points.
Narrative V– One actor comes forward to retell the story as a narrator or in 1stperson, giving broad physical actions to the words (must be slow movements!). Two other actors form a “V” behind and follow the first actor’s movements as if they are a shadow.
Four ElementsWhen a teller shares a lot of feelings and doesn’t really have a “story” that is easily acted out, this is a good form to use. 4 actors take turn using a different element to share the essense of the persons’ story. Offereings freeze and stay frozen until all 4 elements have been presented. 1. Music, 2. Cloth, 3. Movement, 4. Words
Collage- Another form that suits a situation when the teller has told a lot of ideas rather than a story. Each actor, in turn, steps forward to any space on the stage and makes an offer of a part of the story. Each actor’s offering is different. It can be from teller’s perspective, a 3rdperson, an object, a narrator, a poem, song, ANYTHING! It is merely recalling some of the main points rather than trying to play it back as a linear story.
NOTE: You will begin to find the strengths of individuals on your team. Some will be good with words, others stronger in movement or music, or conducting. Use the strengths of your team rather than forcing everyone to try to be good in everything.
Enacted Prayer
Enacted Prayer is a way to pray through images. It was developed originally by Jeff Barker and the Drama Ministries Ensemble of Northwestern Collegein Iowa.
Jeff Barker says all Christians are students in the school of prayer. It’s very important for everyone praying to be prepared in their hearts to come before the throne of God, and to be open to the moving of the Holy Spirit throughout the prayer performance.
Prayer Leader
The prayer leader usually needs a microphone to speak over the congregation and the music. The person sharing a request should also speak into the microphone so all the actors can clearly hear what the prayer is to be.
Casting according to age, gender, and appearance is good but not imperative.
When clarifying the prayer request, try to collect details that will be visually interesting and helpful to the actors.
Make sure you know exactly what is being prayed for, and encourage specificity. One helpful question to ask is something like, “How will you know when this prayer has been answered?”
When casting the prayer, remember that it doesn’t have to be realistic. An actor can represent a group of people, a disease, a disagreement, or anything else that helps illustrate the prayer effectively.
Try not to change the prayer request or praise from what is explained to you by the one requesting the prayer.
Sound Technician
Use music without words, ideally stuff that no one will immediately recognize. The idea is to focus on the images, and the music should help facilitate that.
It often works well to choose music that does not correspond precisely to the assumed mood of the prayer. Contrast can be rich.
Choose music your actors are familiar with. It works well to have a CD full of chosen pieces that you use with a team on a regular basis.
Live music works well because it can respond to the action. Our team has used voices, piano, and drums.
Actors
Listen carefully to the request so you can represent it accurately.
Don’t try to plan out the prayer before you pray it. It’s improvisation guided by the request.
Work with your fellow actors with a “yes, and…” attitude (go along with what is brought up/offered rather than ignoring it or disagreeing with one another on stage).
Make the prayer a journey. Don’t jump to the final image too quickly.
When your part of the story is finished, move to the side and turn away so you won’t distract from the other action.
Think about where the focus is, especially when more than one thing is going on at once.
Don’t interact with the actors playing the Trinity as though they can be sensed the same way as the actors playing people can be.
Feel free to cover a range of human activities and emotions. Prayer doesn’t have to be limited to placid, graceful, meditative action.
The actors playing the Trinity should work both independently and together. At least one of them should always be with every part of the action happening on stage. Remember that you are acting what the congregation wants to see God do, or what they are praising him for having done. You are not claiming to be God, and you’re not saying that what you act is exactly what he would or will do.
The end of the prayer is always a frozen image. Freezing simultaneously is best. However, if an actor or group of actors have not completed their part of the prayer, it’s better for them to finish what they’re doing than to freeze without completing the prayer.
Sample props:
Black cloth (sin, confusion, feeling “in the dark”)
White cloths (the Holy Spirit, Angels)
Red cloth (Jesus, sacrifice, pain, blood)
Purple Cloth (God the Father, King, Royalty)
Green cloth (vegetation, growth, hope, spring)
Bible or Lantern (symbolizing the Bible)
Required Textbooks for TCA College Theatre Courses:
Drama Ministry: Practical Help for Making Drama a Vital Part of Your Church.Pederson, Steve. Grand Rapids, MI: Zondervan, 1999.
Technical Theatre for Nontechnical People.Campbell, Drew. New York: Allworth Press, 2004.
Youth Drama Ministry: (Includes How to’s and scripts)
The Ultimate Youth Drama.McCusker, Paul. London: Monarch Books, 2001.
Other Recommended Books:
Acting Religious: Theatre as Pedagogy in Religious Studies.Rue, Victoria. Cleveland, OH: Pilgrim Press, 2005.
Audition: Everything an Actor Needs to Know to Get the Part.Shurtlef, Michael. New York: Bantam Books, 1978.
The Backstage Guide to Stage Management: Traditional and New Methods for Running a Show from First Rehearsal to Last Performance.Kelly, Thomas. New York: Backstage Books, 1999.
Costuming the Christmas and Easter Play: With Ideas for Other Biblical Dramas.Staeheli, Alice M. Colorado Springs, CO: Meriwether Publishing, 1988.
The Director's Eye: A Comprehensive Textbook for Directors and Actors.Ahart, John. Colorado Springs, CO: Meriwether Publishing, 2001.
Directing for the Stage: A Workshop Guide of 42 Creative Training Exercises and Projects. Converse, Terry John. Colorado Springs, CO: Meriwether Publishing, 1995.
Improvising Real Life: Personal Story in Playback Theatre. Salas, Jo. New York: Tusitala Publishing, 1999.
Let's Put On a Show! Theatre Production for Novices.Lane, Stewart F. Portsmouth, NH: Heinemann Press, 2007.
Making Stage Props: A Practical Guide.Wilson, Andy. Wiltshire, England: Crowood Press Ltd, 2003
The Playwrights Process, Learning the Craft from Today’s Leading Dramatists. Laughlin, Buzz. London: Back Stage Books, 1997.
A Practical Guide to Stage Lighting.Shelley, Stephen Louis. Woburn, MA: Focal Press/Butterworth-Heinemann, 1999.
Respect for Acting.Hagen, Ute. New York: Wiley Publishing, 1973.
Scenic Art for the Theatre:History, Tools, and Techniques,Crabtree, Susan and Peter Beudert. Second Edition:. Woburn, MA: Focal Press, 2004.
Screenplay, The Foundations of Screenwriting, a Step-by-Step Guide from Concept to Finished Script. Field, Syd. New York: Bantam Dell/Random House, Inc, 2005.
Recommended Books, cont.
Set Your Voice Free: How to Get the Singing or Speaking Voice You Want.Love, Roger. New York: Little, Brown & Company/Hachette Book Group, 1999.
Sights & Sounds A Christian Response to the Creative Arts and Media. Solomon, Robert M and Lim K Tham. Singapore: Armour, 2006.
Stagecraft for Christmas and Easter Plays: A Method of Simplified Staging for the Church.Miller, James Hull. Colorado Springs, CO: Meriwether Publishing, 1988.
The Stagecraft Handbook.Ionazzi, Daniel A. Ohio: Betterway Books/F&W Publications, 1996.
Talking About MIME, an Illustrated Guide, David Alberts. Portsmouth: Heinemann/Reed Elsevier Inc, 1994.
The Theater Experience.Wilson, Edwin. New York: McGraw-Hill, 2004.
Links:
“CRM Empowering Leaders envisions movements of fresh, authentic churches, pioneered by godly leaders, fired by a passion for their world, compelled to multiply their lives and ministry; so that the name of God is renowned among the nations.”
Annual National Conference & Regional Conferences, North America
Biblical Storytelling
Scripts today have come from
The Worship Drama Library, Volume 9: 12 Sketches for Enhancing Worship(Paperback)
The Ledger People Selectscripts: Marriage(Spiral-bound)
The Relationship Seminar & Daniel 2 demonstrationKimberly Creasman
Other Recommended Script Resources
By Victor Yen, Grace Assembly of God
History
DRAMA in the church is not a new phenomenon. In as early as the 10thcentury, Drama was used to teach biblical records to an illiterate laity and the church maintained control over play production until the 16thcentury. As its popularity gradually moved performances beyond the church walls, plays began to take on a more secular role. The early Puritans, suspicious of theatre, wielded enough influence to quell theatre activity in the 17thcentury and since that time, the relationship between church and theatre has been a rocky one.
Today, as we approached the 21stcentury, the church is once again embracing the value of drama. But it is generally deemed as a nice ‘add-on’, unlike the role that music plays in a church. Why is that so?
Real Drama, Real Power
The one thing that plays must neverdo is to take on the role of the Preacher. By having characters spew monologues that seem like sermons is a sure way of alienating your audience, Christian or not. This makes Drama predictable at best and ‘sneaky’ to the unsuspecting. To realise the potential of drama in service to God, we need to understand what Drama can reallydo. Here are some key capabilities:
a. The Power of Drama to Entertain:
Entertainment need not be a ‘dirty’ word. Good entertainment can also be truthful and enlightening. Drama has become the dominant form of artistic communication in the western world. Movies, television industries and Youtube are worth billions of dollars. The sheer magnitude and popularity of this form of communication demands the church to examine it seriously.
b. The Role of Drama to Explore:
For Drama to stay relevant, it must possess an adventurous spirit. Drama practitioners who are fearful of exploration and prefer to ‘play it safe’ all the time risk compromising the ministry’s potential. Why should we be fearful about conveying our Christian worldview, with the help of the Holy Spirit, through exploring various styles within this form of art?
c. The Ability of Drama to Break Down Defenses:
If Drama is to have an impact, then it must reflect the real world, warts and all. Many, especially adults, wear ‘masks’ to hide vulnerabilities and hurts. Drama stirs our memories, probes our psyches, and exposes our pain. A simple story with believable characters has the ability to connect powerfully in every cultural context.
d. The Influence of Drama to Inspire Worship:
Drama that commits to being real,penetrates through people’s defenses and prepares hearts for worship. Through scenarios depicted, Drama could ‘lay the groundwork’ persuade a proud heart to confess sins, convince an angry person to forgive and remind us to love more. To this extent, Drama is an effective tool in ‘softening hearts’ in anticipation of the Preacher’s message.
Worship. Create. Inspire
“How Drama Has Affected My Walk with Christ”
By Khimmy Lim, Care Community Church
The first drama that I watch was during my primary school days. I am sure some of you would know the story “A Wise Ruling” from 1 Kings 3:16-28. I was from a neighbourhood school which do not allow religion preaching, hence the story was introduce as “A Wise Ruler” and no mentioned that it was extract from the bible. The amazing part was I remembered the story very well even till now (almost 30 yrs), even better than those exciting movie! Since then, I have fall in love with drama (love at first sight). When I became a Christian and come across this story “A Wise Ruling” in the bible, it give me the sensation of having a reunion with God. Realising that God has been watching over me all the time; it was such a great joy!
As a believer, it is our mission to share the gospel! But, how? Well, it is easy for some people but not all and I feel incompetent to do so! It was only when I get involved in my church drama in 2005 and with my own encounter from “A Wise Ruling” that I began to see that drama is another platform to share with others about God and all His goodness including the gospel! Being involved in drama ministry has made me more reliance on God, praying that God will use every piece of our drama to reach out & glorify God. In my conclusion, drama has close up the gap between me & God, me and bros/sis in Christ. (For take away: The saying “A picture tells a thousand words”. My version: Drama leaves a strong impact & everlasting impression.)
1 Kings 3:16-28
A Wise Ruling
16Now two prostitutes came to the king and stood before him. 17One of them said, "My lord, this woman and I live in the same house. I had a baby while she was there with me. 18The third day after my child was born, this woman also had a baby. We were alone; there was no one in the house but the two of us.
19"During the night this woman's son died because she lay on him. 20So she got up in the middle of the night and took my son from my side while I your servant was asleep. She put him by her breast and put her dead son by my breast. 21The next morning, I got up to nurse my son—and he was dead! But when I looked at him closely in the morning light, I saw that it wasn't the son I had borne."
22The other woman said, "No! The living one is my son; the dead one is yours."
But the first one insisted, "No! The dead one is yours; the living one is mine." And so they argued before the king.
But the first one insisted, "No! The dead one is yours; the living one is mine." And so they argued before the king.
23The king said, "This one says, 'My son is alive and your son is dead,' while that one says, 'No! Your son is dead and mine is alive.' "
24Then the king said, "Bring me a sword." So they brought a sword for the king. 25He then gave an order: "Cut the living child in two and give half to one and half to the other."
26The woman whose son was alive was filled with compassion for her son and said to the king, "Please, my lord, give her the living baby! Don't kill him!"
But the other said, "Neither I nor you shall have him. Cut him in two!"
But the other said, "Neither I nor you shall have him. Cut him in two!"
27Then the king gave his ruling: "Give the living baby to the first woman. Do not kill him; she is his mother."
28When all Israel heard the verdict the king had given, they held the king in awe, because they saw that he had wisdom from God to administer justice.
“What is the ministry to a team member while being part of a Drama Ministry?”
by, Siew Cheng Lee, Wesley Methodist Church
I’m a late bloomer and only started being involved in drama ministry in end year 2001. My friends find me a drama ‘cause I constantly have my hands flying all over when I talk to them and if I want to emphasis on something I will drag my speech.
I thought being in drama was just to come up and prance around. You get a whole audience to look at you. But having been involved through the years I realized that I have more to learn and is still learning.
I have to confess that I’m no Bible thumping from cover to cover. Ask my mom and she complains that I don’t even memorize the order of the bible be it the Old or New Testament. I now cheat by having tags on the sides of it.
Having done a few shows has helped me study the Bible (not all of it yet). You see I have to memorize the script, and most important of all, thoughts which will be flying through me. It does seem that God is speaking to me through the script. Here are some excerpts from the scripts I have worked on:
In “The Gift,” by Glenn A Hascall (Reader’s Theatre), our lines were only either one word or phrase but yet it kept telling us what this Gift from God is, where it is from, where it is coming. Priceless, precious and perfect gift. And we all know that the Gift is Jesus.
“Temple Merchant” (John 2:13-23) by Debbie Lee. This is the only chapter that I will shiver if had been in the temple. I wouldn’t have thought that Jesus would be so angry. I can safely say that I don’t come to church to make money but on hindsight Church has often been my playground. I get to meet and chat with friends and sometimes loose my focus of coming to church.
All of us know the Lord’s Prayer by heart but what does it actually mean? I only got in depth when I did “The Lord Prayer” by Tom Long. On the section “hallowed be Thy name,” the character in the script says “It means….it means…(loss of words) Goodness! How should I know what it means? It’s just part of the prayer. By the way, what does it mean? Does it break your conscience when you say “Forgive us our debts even as we forgive our debtors?” It was quite tough doing this script, I did sit down and cried a few times. I need to reconcile with what I have to say and now it is a constant reminder to me whenever I say it.
In a Christmas play “Saviour,” I learnt of the prophets from the Old Testament who predicted the Messiah’s birth. Micah predicted that the Messiah would be born in the village of Bethlehem and it’s the village where King David was born. Isaiah predicted that the messiah will be born into the family of King David. Isaiah also predicted that the Messiah of Israel will be God himself in human form. The Messiah will be known to his disciples as Immanuel which means “God with us.” Mary already knew that her baby would be a boy who is the Messiah. He will be called Joshua, a Hebrew name which means “God is Salvation.” The Greeks will pronounce His name as Jesus.
So yes, Christian drama does help me understand the Bible better. It also helps me to have a closer walk with God. I just can’t go out and say lines without knowing the true meaning.
March 2009
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Biblical Storytelling (Daniel 2:1-12)
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NARRATOR: Kimberly KING: Abraham O=stool _____=DS
ASTROLOGERS: 1-Deniece, 2- Dick, 3-Serena (Dee?) Victor O King Narr xxxASTRO
Preset:King – cloth for robe, Astrologers – cloth as shawls, puppet parts US, Readers Th Black notebooks USR
NARR
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In the second year of his reign, Nebuchadnezzar had dreams; his mind was troubled and he could not sleep. So the king summoned the magicians, enchanters, sorcerers and astrologers to tell him what he had dreamed. When they came in and stood before the king, he said to them,
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KING
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I have had a dream that troubles me and I want to know what it means.
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NARR
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Then the astrologers answered the king in Aramaic,
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ASTRO.ALL
ASTRO 1
ALL
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-O king, live forever!
-Tell your servants the dream,
-and we will interpret it.
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NARR
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The king replied to the astrologers,
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KING
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This is what I have firmly decided: If you do not tell me what my dream was and interpret it, I will have you cut into pieces and your houses turned into piles of rubble. But if you tell me the dream and explain it, you will receive from me gifts and rewards and great honor. So tell me the dream and interpret it for me.
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NARR
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Once more they replied,
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ASTRO 1
ALL
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-Let the king tell his servants the dream,
-and we will interpret it.
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NARR
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Then the king answered,
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KING
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I am certain that you are trying to gain time, because you realize that this is what I have firmly decided: If you do not tell me the dream, there is just one penalty for you. You have conspired to tell me misleading and wicked things, hoping the situation will change. So then, tell me the dream, and I will know that you can interpret it for me."
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NARR
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The astrologers answered the king,
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ASTRO 2
ASTRO 1
ALL
ASTRO 2
ALL
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-There is not a man on earth who can do what the king asks!
-No king, however great and mighty, has ever asked such a thing of any magician or enchanter or astrologer.
-What the king asks is too difficult.
-No one can reveal it to the king except the gods,
-and they do not live among men.
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NARR
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This made the king so angry and furious that he ordered the execution of all the wise men of Babylon.
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[ALL FREEZE, then look to screen]
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2
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Tableaux (2:12-15)
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Narrator: Kimberly King: Abraham Arioch: Victor
Daniel: Nico Others: Dick, Serena, Bell: Dee
[BELL, actors move into place.]
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NARR
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This made the king so angry and furious that he ordered the execution of all the wise men of Babylon.
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picture1
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[BELL actors freeze in tableaux.]
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NARR
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So the decree was issued to put the wise men to death [BELL, actors move into place], and men were sent to look for Daniel and his friends to put them to death.
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picture2
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[BELL actors freeze in tableaux.]
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NARR
Picture3
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When Arioch, the commander of the king's guard, had gone out to put to death the wise men of Babylon,
[Pause]
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NARR
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Daniel spoke to him with wisdom and tact.
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[Add DANIEL to Tableaux]
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NARR
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He asked the king's officer,
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ALL
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[to audience, not DANIEL & ARIOCH] Why did the king issue such a harsh decree?
[look to screen for change to…]
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Abraham Victor Dick
Deneice Dee Kim
Nico_____________________________________
3
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Mime, Simple Staging (Daniel 2:16-19)
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NARRATOR: Kimberly DANIEL (mime): Serena
NARR
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Why did the king issue such a harsh decree?
Arioch then explained the matter to Daniel.
At this, Daniel went [step fwd r foot] in to the king and asked [hands out] for time, so that he might interpret the dream for him. Then Daniel [step back r foot] returned to his house
and explained the matter to his friends Hananiah, [Indicate]
Mishael [Indicate]
and Azariah. [Indicate]
He urged them to plead for mercy from the God of heaven concerning this mystery, so that he and his friends might not be executed with the rest of the wise men of Babylon. [Daniel bows to ground, others follow. BEAT.]
[beat, all bowed.]
During the night the mystery was revealed to Daniel in a vision.
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4
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CHORAL READING or GREEK CHORUS (Daniel 2:19-23)
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NARRATOR: [Joins others in V formation, on knees.]
During the night the mystery was revealed to Daniel in a vision.
Then Daniel praised the God of heaven and said:
NARRATOR & DANIEL: Praise be to the name of God for ever and ever;
ACTORS ON STAGE: wisdom and power are his. [repeat]
[ACTORS in audience stand and say, standing on different lines.]
He changes times and seasons;
he sets up kings and deposes them.
He gives wisdom to the wise
and knowledge to the discerning.
He reveals deep and hidden things;
he knows what lies in darkness,
and light dwells with him.
WOMEN: [stand]I thank and praise you, O God of my fathers:
MEN: [stand]You have given me wisdom and power,
NARR & DANIEL: you have made known to me what we asked of you,
ALL: [step fwd] You have made known to us Abraham others USL
[begin moving into new position] the dream of the king. Nico O Deniece Dick
[ALL not in RT: look to screen]
5
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READERS THEATRE (Daniel 2:24-28)
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1: Deniece 2. Nico 3. Dick 4: Abraham
1
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[focus is UL] Then Daniel went to Arioch, whom the king had appointed to execute the wise men of Babylon, and said to him,
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2
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Do not execute the wise men of Babylon. Take me to the king, and I will interpret his dream for him.
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1
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Arioch took Daniel to the king at once and said, [mime holding w/ R hand, DANIEL’s L elbow]
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3
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I have found a man among the exiles from Judah who can tell the king what his dream means. [let’s go, DANIEL stumbles fwd a bit]
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1
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[stands, KING stands on stool] The king asked Daniel (also called Belteshazzar),
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4
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Are you able to tell me what I saw in my dream and interpret it?
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1
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Daniel replied,
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2
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[focus for KING is UR – soundbooth]No wise man, enchanter, magician or diviner can explain to the king the mystery he has asked about, but there is a God in heaven who reveals mysteries.
[begin cross SR for RT] He has shown King Nebuchadnezzar what will happen in days to come. Your dream and the visions that passed through your mind as you lay on your bed are these:
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6
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Puppetry(Daniel 2:29-45)
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DANIEL (Nico): As you were lying there, O king, your mind turned to things to come, and the revealer of mysteries showed you what is going to happen. As for me, this mystery has been revealed to me, not because I have greater wisdom than other living men, but so that you, O king, may know the interpretation and that you may understand what went through your mind.
You looked, O king, and there before you stood a large statue—an enormous, dazzling statue, awesome in appearance.
Theheadof the statue was made of pure gold, [Dick]
itschest and armsof silver, (2) [Deniece]
itsbelly and thighsof bronze, [Diana]
itslegs of iron, [Abraham]
itsfeetpartly of iron and partly of baked clay. (2) [Dee]
While you were watching, [Victor]
arock was cut out, but not by human hands. It struck the statue on its feet of iron and clay and smashed them. Then the iron, the clay, the bronze, the silver and the gold were broken to pieces at the same time
and became like chaff on a threshing floor in the summer.
The wind swept them away without leaving a trace.
But the rock that struck the statue became a huge mountain[Victor, Peter, others?]
and filled the whole earth.
ALL: This was the dream, and now we will interpret it to the king. (2:36)
Slides are used to define these empires
|
DANIEL: You, O king, are the king of kings. The God of heaven has given you dominion and power and might and glory; in your hands he has placed mankind and the beasts of the field and the birds of the air. Wherever they live, he has made you ruler over them all. You are that head of gold.
After you, another kingdom will rise, inferior to yours. [chest and arms]
Next, a third kingdom, one of bronze, will rule over the whole earth. [belly & thighs]
[legs of iron]
Finally, there will be a fourth kingdom, strong as iron—for iron breaks and smashes everything—and as iron breaks things to pieces, so it will crush and break all the others.
Just as you saw that the feet and toeswere partly of baked clay and partly of iron, so this will be a divided kingdom; yet it will have some of the strength of iron in it, even as you saw iron mixed with clay. As the toes were partly iron and partly clay, so this kingdom will be partly strong and partly brittle. And just as you saw the iron mixed with baked clay, so the people will be a mixture and will not remain united, any more than iron mixes with clay.
[mountainthis time after erecting]
In the time of those kings, the God of heaven will set up a kingdom that will never be destroyed, nor will it be left to another people. It will crush all those kingdoms and bring them to an end, but it will itself endure forever.
[FREEZE]
This is the meaning of the vision of the rock cut out of a mountain, but not by human hands—a rock that broke the iron, the bronze, the clay, the silver and the gold to pieces.
[ALL look to screen and begin putting pieces away]
7
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BIBLICAL STORYTELLING(Daniel 2:46-49)
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1: Dick 2: Deniece, KING: Abraham, DANIEL: Nico
ALL
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[layering- Nico, K!, Dick, Deniece, Diana, Abraham, Deanna]
The great God…/The great God/The great God [etc]
…has shown the king
what will take place…/what will take place/what will take place [etc]
…in the future.
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DANIEL
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The dream is true and the interpretation is trustworthy.
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1
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Then King Nebuchadnezzar fell prostrate before Daniel
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2
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and paid him honor and ordered that an offering and incense be presented to him.
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1
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The king said to Daniel,
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KING
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Surely your God is the God of gods and the Lord of kings and a revealer of mysteries, for you were able to reveal this mystery.
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2
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Then the king placed Daniel in a high position and lavished many gifts on him.
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1
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He made him ruler over the entire province of Babylon and placed him in charge of all its wise men.
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2
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Moreover, at Daniel's request the king appointed Shadrach, Meshach and Abednego administrators over the province of Babylon,
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1
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while Daniel himself remained at the royal court.
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2
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This is from the Old Testament book about a Hebrew Prophet Daniel
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1
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This is the word of the Lord
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ALL
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Thanks be to God.
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posted by K!Mberly at
8:59 AM
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