Just a Seck

All nationalities, French, American, British, German, all have their stereotype. I find that we all come by our national stereotypes quite honestly. In my last blog I told how my American drama group had the absolutely wonderful opportunity to do drama training at Operation Mobilization’s Love Central Europe campaigns in the mid 1990’s. It was a totally delightful, not to say chaotic, experience as we taught street dramas to a dozen different language groups —all at once!

As we taught, mumbling would suddenly begin all around us as English-second-language people would translate for us into German, Dutch, French, Romanian, Hungarian, Korean, etc. Then, we would break up into the different language groups and they would have a go at the drama we had just demonstrated to all of them.

That’s when our hard-earned stereotypes would start showing up. We Americans are known around the world for being loud … and you want to know something? We are loud! We have no trouble getting to volume 4 at any time. The Hungarians, on the other hand, see volume 2 as thunderous. Pushing them to get loud enough to draw a street audience was hard, hard work. The Dutch, another quiet group known for deep thinking, would often come up to me with worried looks upon their handsome faces to discuss the nuances of the symbolism being presented in the drama piece and wondering if the audience would get it. Now street drama is not exactly subtle stuff! The Germans, on the other hand, would always have “a better idea” and totally rework our piece, beginning with the plot.

My favorites, I have to confess, were the Romanians. These passionate folks are born to perform. Their language group was always the noisiest as they debated loudly and vociferously about how to make our piece Romanian. Their decibels were always accompanied by a lot of hand and arm gesturing, body posturing and face-contorting. Then suddenly … they all agreed, smiled and nodded. What ten seconds earlier looked like it might break out in fisticuffs was now a well-organized team ready to perform. Amazing! And fun!

A drama we taught the group one year was the RT script for the Rich Fool, to be performed as a memorized, scriptless piece (see previous blogs.) Read the script over, noting how I applied the six stages of developing an RT script. After you’re done, I’ll tell you how some of the language groups performed it in stereotypical fashion.

THE PARABLE OF THE RICH FOOL

Luke 12:13-21

(Script with blocking suggestions)

(Text added for emphasis is in italics. Our staging suggestion is that you play the two bickering brothers (or sisters!) as a rollicking overstatement. The Rich Man is robust and boisterous also. When God speaks, he is firm and his last line is somewhat ironic.)

CAST:

NARRATOR

GOD (can be played by NARRATOR)

JESUS

MAN (Son 2)

BROTHER OF MAN (Son 1)

RICH MAN

(Brothers can be in the audience itself. They begin to argue.)

(Brothers start bickering again!) [Son 1 FTA, DSR of body; Son 2 FTA, DSL of body, they pause a moment to honor the dead, and begin bickering]

___________________________

This is a lively RT sketch. So how did the different groups stage it? When it came to the dramatic moment where God strikes the fool and he dies, all we did was have God reach out his right hand and point it at the fool. He then dies rather melodramatically of a heart attack. Typical American way to go. When the Koreans did their version, we did not understand their language, of course, but we knew when they came to this crucial moment. Their God karate chopped the fool. One blow killed him. When the gentle Dutch got there, their fool just kinda melted in his shoes. We were all waiting to see what the Romanians would do. As the fool protested “I’m not ready,” God pulled out a mime shotgun, pumped it and blew him away!

Enough.

If, you’ve got questions on how to create an RT script, send them to me at justaseck@fellowshipchapel.net.

Yours for His Kingdom,

Justaseck

So here’s today’s concept:  When it comes to staging an RT script you have created, you have four basic choices.

 

Although my drama group is not just a Readers Theater Group, we have done a number of seminars on scripting and staging RT, both in the U.S. and Europe .  Several times we did this for Operation Mobilization in Central Europe .  For a number of summers after the fall of Communism, OM held Love Central Europe Evangelistic Campaigns from Albania to Estonia .  It all started with a training conference where some 500 to 600 young adults from around 30 countries would come for a week to be prepared to share their faith in creative ways.  What a riot my drama group would have each day as we would gather together 100 plus students speaking a dozen different languages and teach them RT techniques.  It was like a combination of the Tower of  Babel and the Day of Pentecost.  We found out that we could easily script RT in Romanian, Hungarian, Croatian, Albanian, German and even Hebrew.  Many took the techniques back to their home churches after the campaign was over.  As I wrote earlier, we have done a lot of different things with this flexible drama technique.

 

Since I have just done a couple of blogs on creating an RT script of The Good Samaritan, it is probably a good idea if I make some suggestions on how to stage such a script.  I generally think of four basic ways to stage RT.  Let me briefly describe them.

 

1. Basic RT Staging
   

 

In this method, actors stand (or sit on stools) in a straight line or semi-circle.  They dramatically read from their scripts which are placed on music stands.  They use off-stage focus (as though looking into a TV camera.)   Very few gestures are used with their hands or arms.  No props are used. Entrances and exits of a character are done simply by having the character raise or lower his head.  The script and the dramatic reading carry the load.  The actors usually wear black.

 

2. Standard RT Staging
   

 

This method of staging RT is a little more relaxed.  Actors still stand or sit at music stands reading their scripts and using off-stage focus.  But you do not have to keep them in a line or semi-circle.  You can employ platforms, have some actors sit or stand, etc.  The main difference is that the actors now read/tell their story while using their bodies to symbolically act out their character’s actions while remaining in their places.  Props are mimed or the script book is used to symbolize the prop (e.g. a shovel, a tray, a steering wheel, etc.).  Entrance, exits or character changes are executed by having the actor go Back to Audience (BTA) or Front to Audience (FTA).   Actors usually wear black.

 

3. Modified RT Staging
   

 

The best way to visualize this form of RT is to think of an early rehearsal of a standard play where the actors are still reading dramatically from their partially memorized script books.  The only major difference is that the actors are still employing off-stage focus to show the audience this is RT and not a rehearsal!  Modified RT employs blocking, props, symbolic costumes and FTA and BTA movements to indicate entrances, exits and character changes.  I use this form of staging often.  I will give my reasons in a few minutes.

 

4. Scriptless RT Staging
   

 

As the name indicates, with this method, actors drop the scripts entirely and go completely by memory.  Normal on-stage focus is employed.  Full costuming, use of props, lighting, blocking, etc. are also used.  Why is this still a form of RT?  Because you are staying with the text of the literary piece, and that means using a narrator (or narrators) to introduce characters, describe the setting and tells when actors are leaving or entering.   They are an essential part of the script and the blocking.  Bec/ of the narrator, actors can easily play more than one character in the piece, often by just going up-stage and BTA and then going FTA when the narrator introduces his new character. 

I really like this method because I can use 8 actors to do a piece involving 20 plus characters, utilizing several scene changes and time changes.  In this era of visual effects that leave nothing to the imagination, this method challenges the audience to use its imagination.  I will sometimes introduce an RT piece by saying this drama will only be as good as your imagination makes it!  I have heard Scriptless RT sometimes referred to as Chamber Theater.  Fair enough.

 

So which method of staging RT should you use?  Let several things help you decide this.

 

First, which method fits the script the best?  If your script looks like my first version of The Good Samaritan, Basic or Standard staging may be best.  If it looks like my more advanced script, I would suggest Modified staging.  My finalized script would work best with Modified or Scriptless staging.  In fact, we staged it first using modified and then dropped the scripts entirely.  We ended up liking that method the best.  If you want to see how we blocked it, e-mail me.

 

Second, which method fits your cast the best?  RT is a wonderful way to introduce people to acting.  The biggest fear most would-be actors have is forgetting their lines.  When I tell them they can take their script on stage, they give me a sigh of relief and a big smile.  I have started many people who said, “I will never act” or “You’ll never get me up there” into becoming good actors by using the first three methods of staging RT.    While they are still reading their scripts (I require 75% memorization), they are learning how to build a character, how to block, theater terminology, how to develop stage presences and persona.  It’s not long before they are ready to put the script down and trust their memories.  So, I suggest using one of the first three methods, if you have an experienced cast or you do not have enough time to memorize the script. 

                  

Third, what is your stage like?  Limited platform space, as in many churches, may dictate your method.

 

Fourth, what is your audiences’ tolerance for drama?  Some churches are just not ready for anything more than methods one or two, especially in their worship service.  Remember, the drama is intended to enhance the worship and the understanding of the Scripture, not create a controversy about drama.

 

Well, that’s enough for this blog.  It’s gotten kind’a long.

 

Hope this has been helpful.  Let me know.

 

Yours for His Kingdom,

Justaseck

Okay, here’s today’s concept:  Readers Theater (RT) can be a very effective tool for creating and staging Christian (including evangelistic) drama like “The Parable of the Good Samaritan.”  But you’ll have to use your creative ingenuity by employing extra dialogue while remaining as honest to the text as you possibly can.

 

One problem that many Christian drama groups or worship staffs have is finding the right script to fit their needs.  You can always check the web sites of the mega-churches to find out what their staff writers have concocted, but these scripts were written to fit their production need, not yours.  You can probably spend hours and lots of money reading through their scripts and not find the one that suits your situation exactly. 

 

We have been trying to help you solve this problem by teaching you how you can create your own scripts.  One way, we are learning, is by using the techniques of Readers Theater scripting.  This method allows you to take the scripture passage you are basing your message on, or your theme upon, and turn it into a dramatic script.  There are as many good drama scripts in the Bible as there are passages to draw from.

 

I have been demonstrating this to you by using Jesus’ famous story of The Good Samaritan in Luke 10:25-37.  So far, I have taken you through my first five stages for creating an RT script.  If you have not done so, please read my last three blogs to take you through steps one to five.  I should point out that a true Readers Theater script starts out with a piece of literature (e.g. a passage of scripture) and then transforms it into a drama script—just as I have shown you.  I have seen numerous so-called RT scripts that are just drama scripts written to be performed in the RT style.  This is not a true RT piece.

 

Today, we will go through my sixth, and final step:  Go back through the script you have created in step five adding dialogue that enhances, but does not alter, the meaning of the scripture text.

 

I tend to do this is two ways: either creating dialogue for the speakers, or going to other passages of scripture and importing that text into my present script.  (This latter technique works well when you are scripting a passage from the synoptic Gospels [Matthew, Mark, Luke] because one Gospel account may include text the others have left out while telling the same story.)

 

Here is my finalized script.  The dialogue I have added is italicized.  I’ll give some comments on what I have done after you read the script.

 

THE PARABLE OF THE GOOD SAMARITAN
Luke 10:25-37

 

CAST:
Narrator — Robber 2 – Person 2
Jesus
Lawyer – Victim
Robber 1 – Person 1
Priest
Levite
Samaritan

 

Narr:    The Parable of the Good Samaritan.  Luke 10:25-37.   (Pause)    On one occasion an expert in the law stood up to test Jesus.

 

Lawyer:           “Teacher,”

 

Narr:    He asked,

 

Lawyer:           “what must I do to inherit eternal life?”

 

Jesus:             “What is written in the Law?”

 

Narr:    he replied.

 

Jesus:             “How do you read it?”

 

[Narr:   He answered:}

 

Lawyer:           “’Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’  and, ‘Love your neighbor as yourself.’”

 

Jesus:             “You have answered correctly,”

 

[Narr:               Jesus replied.]

 

Jesus:             “Do this and you will live.”

 

Narr:                But he wanted to justify himself, so he asked Jesus,

 

Lawyer:           “And who is my neighbor?”

 

Priest:             A typical lawyer question!

 

Levite:                        Must be lookin’ for loopholes!

 

 

Narr:    In reply Jesus said:

 

Jesus:             “A man was going down from Jerusalem to Jericho , when he fell into the hands of robbers.

 

Robber 2:       What’s yours is ours …

 

Robber 1:       We’ll take it!

 

Jesus:             They stripped him of his clothes,

 

Robber 1:       (viciously) stripped him of his clothes,

 

Jesus:             beat him

 

Robber 2:       (viciously) beat him

 

Jesus:             and went away,

 

Robber 1:       and went away,

 

Jesus:             leaving him half dead.

 

Victim:            (groaning)  leaving him half dead.

 

Levite:            (to the priest)  Hah!  God’s judgment upon him for going down to Jericho, that Sodom and Gomorrah !

 

Priest:             (to the Levite)  Speak for yourself.  I’ve got my own winter place down there; and I’m on my way.

 

Jesus:             A priest happened to be going down the same road, and when he saw the man…

 

Person 1:       He won’t stop.

 

Person 2:       Not a priest.

 

Person 1:       They never have time for the likes of us.

 

Jesus:             he passed by on the other side.

 

Priest:             (Looking both ways, warily and then matter-of-factly)  passed by on the other side.

 

Victim:            (groaning in despair)  passed by on the other side.

 

Person 2:       Hah!  Passed by on the other side.

 

Person 1:       What did I tell ya?

 

Person 2:       You said he’d pass by on the other side.

 

Person 1:       I’m good!

 

Jesus:             So too, a Levite,

 

Person 2:       A Levite.

 

Person 1:       He won’t stop either.  (Person 2 agrees.)

 

Jesus:             When he came to the place and saw him, …passed by on the other side.

 

Levite:             (self-righteously)  Passed by on the other side.

 

Victim:            (forlornly)  Passed by on the other side.

 

Person 2:       (nodding)  passed by on the other side.

 

Person 1:       Just as I thought.

 

Person 1 and 2:        (giving high-fives)  We’re good!

 

Priest and Levite:     What’s ours is ours…we’ll keep it.

 

Jesus:             But a Samaritan,

 

Person 1 and 2:         (shocked)  A Samaritan!

 

Priest and Levite:      (sneering)  A Samaritan!

 

Victim:            (aghast)  A Samaritan!

 

Jesus:             But a Samaritan, as he traveled, came where the man was;

 

Person 1:       He won’t stop.

 

Person 2:       He’s scum.

 

Person1:        He’d only stop if there was something left to steal!

 

Person 2:       (in direction of the Samaritan)  Pass on by, dirt bag!

 

Jesus:             And when he saw him,…he took pity on him.

 

Samaritan:     (with compassion)  Took pity on him.

 

Person 1 and 2:         (totally surprised and questioning) Took pity on him?  A Samaritan!

 

Priest and Levite:      (sneering at the idea of a Samaritan doing good)   Took pity on him.  A Samaritan.

 

Victim:            (surprised, wondering, but grateful)  Took pity!  A Samaritan!

 

Samaritan:     What’s mine is yours.  Let’s share it.

 

Jesus:             He went to him and

 

Victim:            (still amazed and grateful)  bandaged his wounds, pouring on oil and wine.

 

Jesus:             Then he put the man

 

Victim:            (amazed) on his own donkey,

 

Person 1:       Look!  On his own donkey.  

 

Person 2:       (Annoyed because he was wrong about a Samaritan)  I see it.

 

Jesus:             He took him to an inn and

 

Victim:            (humbly)  took care of him.

 

Jesus:             the next day he took out

 

Samaritan:     two silver coins

 

Jesus:             and gave them to the inn keeper,

 

Samaritan:     “Look after him,”

 

[Jesus:]           he said,]

 

Samaritan:     ‘and when I return, I will reimburse you for any extra expense you may have.’

 

Jesus:             “Which of these three do you think was a neighbor to the man who fell into the hands of robbers?”

 

Narr:                The expert in the Law replied,

 

Lawyer:           “The one who had mercy on him.”

 

[Narr:               Jesus told him,]

 

Jesus:             “Go and do likewise.”

 

I would suggest that you read this script aloud a few time, preferably with your drama group, in order to get the rhythm and meter of the piece. 

The dialogue that I added has several purposes.  First, it provides some background commentary on the various characters.  When the By-standers mock the Priest, Levite and Samaritan, we learn how people in Jesus’ day felt about these three groups of people.  When the Priest and Levite rag on the Lawyer, we see their cynicism. 

Second, it adds to the drama itself.  The dialogue makes the characters come alive.

Third, it connects with the preacher’s message.  The preacher could be doing a message on How Do You Treat Your Neighbor?   What is mine is mine, I’ll keep it.  What’s yours is mine, I’ll take it.  What’s mine is yours, let’s share it.

A few final details:  You can start an RT piece by introducing the title and scripture passage, as I have done in this script.  If you do so, pause so the narrator can shift into character.   Note that I have some of the “he said” and “they said” fragments in brackets [].  I leave it up to the director as to whether he wants to drop these out or not.  You need to leave the other fragments in so the narrator can introduce the characters to the audience.  After that is done, the fragments may not be necessary.

 

My drama groups have performed this Good Samaritan script many times before very appreciative audiences in churches, in parks, on driveways, etc.  It communicates very well, is enthusiastically received, and is fun to rehearse and perform.  I have preached after it on a number of occasions.

 

Study the six step process and my Good Samaritan example.  Then try a passage of your own and see how you do at scripting.

 

In my next blog, I’ll give you some suggestions on how to stage an RT piece like Good Samaritan.

 

Meanwhile, if you have a comment or a question, feel free to contact me at this blog site or at justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

Justaseck

 

 

Okay, here’s today’s concept:  Readers Theater (RT) can be a very effective tool for creating and staging Christian (including evangelistic) drama like “The Parable of the Good Samaritan.”  But you’ll have to use your creative ingenuity while remaining as honest to the text as you possibly can.

 

            In my last blog I took you through my first four steps in creating an RT script from the scriptures.  If you haven’t studied that, please do so before reading this blog. It’s time to go on to step five.

 

Fifth, look at ways to turn narration into speaking parts for the original speakers or for possible new speakers.  In our script, I began to look at how to turn Jesus’ narration into speaking parts.

            Here’s Jesus’ narration:

“A man was going down from Jerusalem to Jericho , when he fell into the hands of robbers. They stripped him of his clothes, beat him and went away, leaving him half dead.  31 A priest happened to be going down the same road, and when he saw the man, he passed by on the other side.  32 So too, a Levite, when he came to the place and saw him, passed by on the other side.  33 But a Samaritan, as he traveled, came where the man was; and when he saw him, he took pity on him.  34 He went to him and bandaged his wounds, pouring on oil and wine. Then he put the man on his own donkey, took him to an inn and took care of him.  35 The next day he took out two silver coins and gave them to the innkeeper. ‘Look after him,’ he said, ‘and when I return, I will reimburse you for any extra expense you may have.’ 

 

 

            Here’s how I divided it up:
Right away, I saw that I needed to add at least two robbers and give some of the narration to them as dialogue.  To bring Jesus’ parable to dramatic life, I also needed to add the victim.  Then I saw that some by-standers (possibly the two robbers looking on at the priest and Levite from a distance) would help develop the background of the priest, Levite and Samaritan by making comments. I could also give narrative to the priest, Levite and Samaritan as dialogue.  Suddenly, I had added 8 new speaking parts to the script:  Robbers 1 & 2, By-standers 1 & 2, Priest, Levite, Samaritan and Victim.  That makes 11 speaking characters!  Because RT is so flexible in staging, this can be performed with as few as 7 actors.  I’ll show you how.

 

Let me show you this stage of my script and then make a few comments about how I composed it.

 

THE PARABLE OF THE GOOD SAMARITAN
Luke 10:25-37

 

CAST:
Narrator — Robber 2 – Person 2
Jesus
Lawyer – Victim
Robber 1 – Person 1
Priest
Levite
Samaritan

____________________________ 

Narr:    On one occasion an expert in the law stood up to test Jesus.

 

Lawyer:           “Teacher,”

 

Narr:    He asked,

 

Lawyer:           “what must I do to inherit eternal life?”

 

Jesus:             “What is written in the Law?”

 

Narr:    he replied.

 

Jesus:             “How do you read it?”

 

[Narr:   He answered:}

 

Lawyer:           “’Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’  and, ‘Love your neighbor as yourself.’”

 

Jesus:             “You have answered correctly,”

 

[Narr:               Jesus replied.]

 

Jesus:             “Do this and you will live.”

 

Narr:                But he wanted to justify himself, so he asked Jesus,

 

Lawyer:           “And who is my neighbor?”
 
Narr:    In reply Jesus said:

 

Jesus:             “A man was going down from Jerusalem to Jericho , when he fell into the hands of robbers.

 

Jesus:             They stripped him of his clothes,

 

Robber 1:       (viciously) stripped him of his clothes,

 

Jesus:             beat him

 

Robber 2:       (viciously) beat him

 

Jesus:             and went away,

 

Robber 1:       and went away,

 

Jesus:             leaving him half dead.

 

Victim:            (groaning)  leaving him half dead.

 

Jesus:             A priest happened to be going down the same road, and when he saw the man…he passed by on the other side.

 

Priest:             (Looking both ways, warily and then matter-of-factly)  passed by on the other side.

 

Victim:            (groaning in despair)  passed by on the other side.

 

Person 2:       Hah!  Passed by on the other side.

 

Jesus:             So too, a Levite,

 

Person 2:       A Levite.

 

Jesus:             When he came to the place and saw him, …passed by on the other side.

 

Levite:             (self-righteously)  Passed by on the other side.

 

Victim:            (forlornly)  Passed by on the other side.

 

Person 2:       (nodding)  passed by on the other side.

 

Jesus:             But a Samaritan,

 

Person 1 and 2:         (shocked)  A Samaritan!

 

Priest and Levite:      (sneering)  A Samaritan!

 

Victim:            (aghast)  A Samaritan!

 

Jesus:             But a Samaritan, as he traveled, came where the man was; and when he saw him,…he took pity on him.

 

Samaritan:     (with compassion)  Took pity on him.

 

Person 1 and 2:         (totally surprised and questioning) Took pity on him?  A Samaritan!

 

Priest and Levite:      (sneering at the idea of a Samaritan doing good)   Took pity on him.  A Samaritan.

 

Victim:            (surprised, wondering, but grateful)  Took pity!  A Samaritan!

 

Jesus:             He went to him and

 

Victim:            (still amazed and grateful)  bandaged his wounds, pouring on oil and wine.

 

Jesus:             Then he put the man

 

Victim:            (amazed) on his own donkey,

 

Person 1:       Look!  On his own donkey.  

 

Jesus:             He took him to an inn and

 

Victim:            (humbly)  took care of him.

 

Jesus:             the next day he took out

 

Samaritan:     two silver coins

 

Jesus:             and gave them to the inn keeper,

 

Samaritan:     “Look after him,”

 

[Jesus:]           he said,]

 

Samaritan:     ‘and when I return, I will reimburse you for any extra expense you may have.’

 

Jesus:             “Which of these three do you think was a neighbor to the man who fell into the hands of robbers?”

 

Narr:                The expert in the Law replied,

 

Lawyer:           “The one who had mercy on him.”

 

[Narr:               Jesus told him,]

 

Jesus:             “Go and do likewise.”

 

Take some time to study how I turned Jesus’ narration into dialogue for the robbers, the victim, the priest, Levite and Samaritan.  These are common RT scripting techniques.  Note particularly how I used repetition of words in the mouths of various characters (e.g. passed by on the other side.   A Samaritan!  Took pity.)  to give a palpable rhythm to the text as well as emphasize key points in Jesus’parable.

Also, as I adapted Jesus narration into dialogue, I did not alter the words.   For example, the Victim says:  Bandage his [not my] wounds, pouring on oil and wine.   This is in keeping with the conventions of  RT where each actor is a storyteller acting out his character’s part of the story as he tells it.

At this point I am also beginning to think about how I’m going to stage this piece.  Using the techniques of RT actors can change characters in the middle of a drama, so I can give them multiple parts.  If you look at my Cast suggestions at the top of the script, I have the Narrator also play the parts of a Robber and a By-stander.  The most significant combination I have is the Lawyer becoming the Victim.  I decided to make the lawyer the victim, since few people in the audience would have any sympathy, compassion, or love for a lawyer.  That would also give more impact to the ending when Jesus asked him to identify the true neighbor.  When we’re in need, we want love and compassion, not a treatise on who is a neighbor.

 

My script is almost done.  This is even a good place to stop.  So far, I have stayed strictly with the scripture text.   But, as I finished up the piece, I wanted to add some lines of my own that did not detract from Jesus’ plot but added human interest, explanation and context.  I’ll show you how I did that in my next blog.

 

If you have questions on this blog, or on RT scripting, be sure to comment.

 

Yours for His Kingdom,

Justaseck

 

_______________________________________

 

 

Okay, here’s the concept:  Readers Theater (RT) can be a very effective tool for creating and staging Christian (including evangelistic) drama like “The Parable of the Good Samaritan.”

 

            . I have a two-fold purpose in my next few blogs:

1.                  To introduce you to a possible drama you could use:  The Good Samaritan.

2.                  On a larger scale, to show you how you can create your own RT scripts and experiment with the flexibility of RT.

 

            Let me take you through the steps I use to create and stage an RT piece directly from the scriptures.

 

First, decide what passage of scripture you are going to turn into an RT script. Some types of scripture are much easier to script and stage than others.  Narratives from the Gospels or the OT History Books are the easiest.  Prose, as from Paul’s Epistles or the Prophets, can be much more difficult.  I would suggest that if you are a beginner you create some narrative scripts first.  Then move to poetry (Psalms, Ecclesiastes, etc.)and then to prose.  I have decided to script the Good Samaritan which is a story (a parable) within a narrative. This will provide us with some creative challenges for scripting and staging.

 

Second, read the passage in several versions to decide which one would be the most effective translation for drama purposes.  (That usually rules out the KJV and the NASB which are usually too stiff and somewhat orally unreadable.  The NIV (New International Version.  Zondervan) is almost always a good choice for closeness to the original language meaning and readability and speak-ability.)  There are numerous on-line sites like BibleGateway.com that can provide you with text.

 

            Here’s the NIV text:
NIV Luke 10:25-37  25 On one occasion an expert in the law stood up to test Jesus. “Teacher,” he asked, “what must I do to inherit eternal life?”  26 “What is written in the Law?” he replied. “How do you read it?”  27 He answered: “‘Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’; and, ‘Love your neighbor as yourself.’”  28 “You have answered correctly,” Jesus replied. “Do this and you will live.”  29 But he wanted to justify himself, so he asked Jesus, “And who is my neighbor?”  30 In reply Jesus said: “A man was going down from Jerusalem to Jericho , when he fell into the hands of robbers. They stripped him of his clothes, beat him and went away, leaving him half dead.  31 A priest happened to be going down the same road, and when he saw the man, he passed by on the other side.  32 So too, a Levite, when he came to the place and saw him, passed by on the other side.  33 But a Samaritan, as he traveled, came where the man was; and when he saw him, he took pity on him.  34 He went to him and bandaged his wounds, pouring on oil and wine. Then he put the man on his own donkey, took him to an inn and took care of him.  35 The next day he took out two silver coins and gave them to the innkeeper. ‘Look after him,’ he said, ‘and when I return, I will reimburse you for any extra expense you may have.’  36 “Which of these three do you think was a neighbor to the man who fell into the hands of robbers?”  37 The expert in the law replied, “The one who had mercy on him.” Jesus told him, “Go and do likewise.”

 

Now, notice that I chose to script and dramatize more than the parable itself.  I have also included the context of the parable: the raising of the question, ‘who is my neighbor’ as well as the answer at the end of the parable.  This makes Luke the overall story-teller and Jesus the story-teller and teacher within the script.

 

Third, as you read through the scripture text, note how many speakers there are, including the narrator.  In this case, the speakers are the narrator (Luke), the Expert in the law (The Lawyer) and the Samaritan.

 

Fourth, turn the passage into a script, giving each speaker his speeches.  In our passage it would look something like this:

—————-

Title:  Luke 10:25-37 

 

Narrator:            25 On one occasion an expert in the law stood up to test Jesus.

 

Lawyer:             “Teacher,”

 

Narrator:            he asked,

 

Lawyer:             “what must I do to inherit eternal life?” 

 

Jesus:               26 “What is written in the Law?”

 

Narrator:            he replied.

 

Jesus:               “How do you read it?” 

 

Narrator:            27 He answered:

 

Lawyer: “‘Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’; and, ‘Love your neighbor as yourself.’” 

 

Jesus:   28 “You have answered correctly,”

 

Narrator:            Jesus replied.

 

Jesus:   “Do this and you will live.” 

 

Narrator:            29 But he wanted to justify himself, so he asked Jesus,

 

Lawyer: “And who is my neighbor?” 

 

Narrator:            30 In reply Jesus said:

 

Jesus:   “A man was going down from Jerusalem to Jericho , when he fell into the hands of robbers. They stripped him of his clothes, beat him and went away, leaving him half dead.  31 A priest happened to be going down the same road, and when he saw the man, he passed by on the other side.  32 So too, a Levite, when he came to the place and saw him, passed by on the other side.  33 But a Samaritan, as he traveled, came where the man was; and when he saw him, he took pity on him.  34 He went to him and bandaged his wounds, pouring on oil and wine. Then he put the man on his own donkey, took him to an inn and took care of him.  35 The next day he took out two silver coins and gave them to the innkeeper.

 

Samaritan:        ‘Look after him,’

 

Jesus:               he said,

 

Samaritan:        ‘and when I return, I will reimburse you for any extra expense you may have.’ 

 

Jesus:   36 “Which of these three do you think was a neighbor to the man who fell into the hands of robbers?” 

 

Narrator:            37 The expert in the law replied,

 

Lawyer:             “The one who had mercy on him.”

 

Narrator:            Jesus told him,

 

Jesus:   “Go and do likewise.”

 

——————-

 

            So, this is the initial script.  Some drama there, but still too stiff.  And what about those Narrative lines like “he said” and “Jesus told him”?  Some RT scripters would stop right here, but we have only begun!  I’ll show you what to do next in my next blog.  Meanwhile, why not take another of Jesus’ parables (e.g. The Prodigal Son) and take it through the first four steps yourself?

 

            Again, if you have questions e-mail me at justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

 

Justaseck

Okay, here’s the concept:  If you can’t find a good script and you don’t feel you’re that good at writing one, you can always create your own using Readers Theater.

            One of the most common questions asked of me as a drama group leader is “how do you find your scripts?”  For me, that’s been easy since I write my own material.  God has gifted me with a very creative imagination, lots of ideas, the ability to visualize the finished production and the skill to write it all down.  Thus I’ve been able to develop scripts that fit my particular needs.  But in that way I’m rather peculiar.  (I’m peculiar in a lot of other ways also, but I’ll let my wife blog on that!)

            So that usually leads my inquirers to the next question: “How can I create my own scripts?”  That’s a really good question because a lot of time can be wasted reading through script books for just the right piece.  (It reminds me of a pastor reading through illustration books for hours looking for just the right sermon illustration.  I read through a lot of fascinating or funny stories, but nothing is exactly what I need.)  You often find yourself settling for something that doesn’t quite fit, but you’re going to use it because it’s funny or dramatic in its own way.  But doesn’t God deserve better than settling?

            I have often found that I could create just the perfect script by using the techniques of Readers Theater.  Now, before you start groaning, “Oh, no.  Readers Theater!” hear me out.  If you are looking for the perfect script, you probably already have a specific Biblical passage you want to illustrate.  So why not stage that very Bible passage and allow the dramatization of the very words of scripture to bring out the meaning you want? 

            Readers Theater maybe conjures up the picture for you of stern actors dressed in black, standing sternly at black music stands and sternly reading a text while looking sternly straight ahead.  Readers Theater does not have to be presented that way!  I don’t know why you would! 

            We have employed many different and creative RT methods to create our own scripts to stage highly entertaining and excellent quality drama.  We have done full-length plays, performed the various gospel accounts of the Passion of Christ, and created a complete cycle of the Parables of Jesus, just to name a few.  We have often used it to bring to life, in a 3-dimensional way, the scripture reading on a Sunday morning.  (And “no,” we don’t use the RT Bible for our scripts.  We find it far too limiting.)

            In addition, RT has proven to be a great foundation to build a Christian drama group upon and to introduce drama into a church (both here and abroad).  We have also incorporated music, dance and multi-media very effectively with RT.  It can be an especially effective tool for evangelistic drama.  After all, your very script is the powerful Word of God itself.

            In my next few blogs I’ll take you through how we create and stage an RT script.  We’ll use one of my favorites:  The Good Samaritan.

            If you have questions on using RT or your Christian drama group would like to have a workshop, let me know at justaseck@fellowshipchapel.net

 

Yours for His Kingdom,

 

Justaseck

            So, here’s the concept.  I’m going to write a blog to share my ideas, experiences, knowledge and scripts after almost 40 years of doing drama from a Christian world view. 

            I started my first Christian drama group in the late 60’s while I was a student at Princeton University and traveled the East Coast doing drama in coffee houses, college dorms and just about any other place people would allow us to set up our coffee-can lights and form a stage-in-the-round.  Those were the days when few churches saw drama as cool. 

            Since then I have worked with, experimented with and created drama for many aspects of Christian ministry, as I served as Pastor of Fellowship Chapel in Sterling Heights, Michigan .  My chief love and passion for drama however has remained utilizing it as a means to speak to those who have not yet come to Christ.  (Two weeks ago, for example, I was in Bihac, Bosnia with my Fellowship drama group, doing original street drama and music outreach as part of their summer arts festival.)  Many of my scripts assume the viewer does not share my faith in Christ.  This probably makes my drama different from many thespians today who are writing for a mainly Christian audience.

            For many years friends, associates and viewers have been urging me to get my scripts into print.  Frankly, I’d much rather be writing new scripts and be directing and producing them than trying to convince publishers they are worth printing for a profit.  But my daughter, Jessy, and new son-in-law, Bob, are much savvier with this new era of blogging and websiting than I will ever be.  They recently showed me how I could by-pass the bottle-neck of the publishers and get my material to those who might be looking for it to help them in using drama to reach the lost and teach the found.

            With their help and the Lord’s, I plan to do the following:

1.                  Set up a website where most of my scripts will be available for those who wish to look them over and possibly use them.  (I will only ask that you recognize they are my copy written work and that you consider making a donation to one of my favorite mission ministries if you use one:  OM Bosnia.  I’ll say more about that later.

2.                  Update the formatting of the website scripts as I have time.  You will find a great deal of inconsistency in format. 

3.                  Write a regular blog at this site explaining various scripts, telling stories of how I used them (every script has been performed before a real audience), and teaching what I know about Christian drama and how to create and perform it.

 

            If that reads like something you could use, let me know.

 

Yours for His Kingdom,

Justaseck