Torch, Spring 1997

water down the message of Christ and weaken doctrinal truth to increase theological acceptability to a broad spectrum of directors and audiences. The same demands made of a church's theology must also be The Performance Must Be Suited for a Particular Audience For the success of any communication tool, a careful analysis of the specific audience •·•· ••··•••····•••••••••····•· ·······•······•······· ·••·•·······•••·•••••••·••••······ The same demands made of a church's theology must also be made of a play's theology. made of a play's theology. Plays must be written and read carefully to identify philosophy and solution. Every church drama presents a character with a problem. If the answer suggested in the play is not biblical, it is heresy. It should also be understood that all biblically accurate drama need not be based solely upon Bible narratives. The message of the drama will be valuable if it teaches biblical truth. Contemporary scripts deal with the penalty of gossip in the church, the destructive nature of parental anger, the power of group pressure, and Satan's delight in the use of discouragement. While these scripts did not overtly quote Scripture, they did address and answer contemporary issues in a biblical context. These dramas in and of themselves may not be "religious," yet they can touch hearts and awaken spirits to the point where God can speak. In Religious Drama: Ends and Means, Harold Ehrensperger states, "The religious value of a play in performance depends upon its effect on the group that participates as audience." If the drama brings into focus a person's need to honor God and His truth, then it is a communication tool useful in the hands of the Holy Spirit. must be considered- age, emotional and spiritual maturity, and scriptural background- as well as the purpose of the presentation. The wonderful story of David and Goliath can focus on the bravery of a boy facing a giant, the fear of a King for his political future, the evil of jealousy between brothers, or the faith of a shepherd in becoming a soldier. The Performance Must Be Performed Well While certain children's drama can escape the requirements of excellence demanded by our visually-dependent audience due to "cuteness," that standard rarely is acceptable with church drama. The key to the success of all dramatic performances is the quality of the performance. If the standards are low and the activity amateurish, the audience will, at best, be simply amused. But, if the production is written, staged, and rehearsed well, the results can be very effective. In Conclusion In their book, A Drama Ministry, Paul Miller and Dan Dunlop identify five reasons for the use of drama as a teaching medium in the church. 1. Drama incorporates methodology that Jesus used: storytelling, object lessons, and audience involvement. 2. Drama has origins in the church; it is time for the church to redeem the medium. 3. Drama has innate capacity of immediacy; it attracts attention and involves the audience. 4. Drama relates spiritual concepts to everyday life in non– threatening terms. 5. Drama opens the door to further discussion and activity. The goal of any communication tool in the church should be to awaken and compel the viewer to see Christ in a new and deeper relationship. Church drama is a tool that can be used to open doors , shed light, raise questions , and provide answers for the questions that fill and motivate our souls. .IJ D r. David Robey has been