A Christian Response to Theatre in Singapore (July 2006)

Here's my story, and my thoughts on the subject. I've hidden it here in the archives of 2002 since it's so long! Something much more erudite and academic made it into the book, which can be purchased from the National Council of Churches for $18.

In 1996 I was scouting out a place in the world where a vibrant, growing, and established church could use a person like me: a Los Angeles dramatist with Bible School and missions training. Since my early childhood I’ve been a practitioner of theatre and passionate follower of Jesus. Though I love other cultures and learning from them, I didn’t want to throw out my western background and English language in my work. For this and many other reasons, I found that Singapore was a good fit for me.

As any Singaporean will agree, we are a proud people. We have the right to be. Though we’re a young nation, we’re developed, sophisticated, smart and setting the standard for the region, and the world, in a number of areas. In the last four decades we’ve shown that we are remarkable achievers. We’re now eager to tackle the Arts as another feather in our world class cap. Government funding for Arts in Education programs is generous, and everywhere on this island Singaporeans eager to embrace creativity and to excell in the Arts.

The church is no different. With the rapid growth of Christianity in the 1980’s, the majority of Singaporean believers are first generation Christians. One of the benefits of this is that most of us don’t have some of the unecessary baggage that comes with years of tradition. In the case of theatre, this specifically means we don’t have a resident history of antagonism between the church and theatre as there is in the west. This generation of artistic Singaporean believers, for the most part, don’t have to live down the reputation of drama being “of the devil.” Singaporean Christians, and the churches they attend are as eager to take to the stage as most are to pick up a karaoke microphone. When it comes to using theatre in the church (or 'drama' as some are more comfortable with), I find in Singaporean Christians a can-do attitude and a humble teachability.

When it comes to theatre in Christian ministry, most Singaporean believers respond to it with this line of thinking: God is the Creator. We are made in his image. This means we are creative too. Therefore, how can we be more creative? Let’s learn and explore whatever ways we can to creatively express the truth we believe.

The Singaporean church seems eager to explore her creativity through theatre. If drama isn’t sprinkled throughout the year in worship or in the children’s and youth ministries, at least every Christmas and Easter most churches will utilize some theatrical creativity. During these holy seasons we usually use some form of theatre to re-tell our favourite moments in history in a fresh way. Our Lord was a master story-teller who used creative ways to get his message across and we are trying to follow him in this. You can find Christians using theatre not only as Easter and Christmas pageants, and in worship services as part of the sermon, but it is also common to see forms of theatre used in in cross cultural ministry/missions and in community service & social work.

Singaporeans have joined Christians all over the world who are responding to theatre in this: We’re using it as part of worship & ministry.

The trouble is that, like an amateur singing karaoke, often our amateur ventures in church drama have a strong “cringe factor.” We’re not very skilled. Unlike an evening of karaoke, where our audience of friends are forgiving and don’t have much expectations for greatness, our church leaders encourage us to invite pre-believers to our dramas in church. We pray earnestly that our show will convince these guests of the greatness of our God, convict them of their need for a relationship with him, and compell them to make a decision to give their lives to him. Often God answers our prayers and uses the message of our drama to speak to the hearts of our guests. But it is also true that often, God speaks to the hearts of our friends in spite of us not because of us.

Our response as Christians to theatre to start with is: Humility. We have a lot to learn.

This is where writing gets difficult for me. Because it’s not easy to answer the question: How do we learn?

One obvious place to start would be to go to the theatre and learn from the creativity expressed by those who are called and gifted in this art form. But this poses a big problem. How can we learn from professional theatre practitioners when in our pursuit of godliness we have such a confict with the immorality promoted and often exhibited in many plays? We are told in Scripture to think on the things that are lovely and noble and of good repute. I think through the list of the local theatre companies, and having seen numrous performances by all of them, I know that there are no guarantees that one's soul will not be offended by the content of most plays in our city.

What should a Christian response to theatre be when our local theatre companies are notorious for pushing the envelope of censorship, and the government licks and seals it with a more liberal license for objectionable material. The numbers in potential viewers is smaller than mass media, so it’s probably seen as a good compromise. Afterall, our up-and-coming country doesn’t want to be perceived on the world art scene as being too prudish, backward and ignorant of what is truly “art.” We want to be hip, with it, and world class. We want tourism to continue to thrive. We can’t do that with a reputation of being square. I believe this is why there are broader parameters for the censorship in the arts and that’s why it makes it harder to carte blanche encourage Christians to patronize the theatre.

How should a Christian respond to theatre? Be discerning, but attend plays. Children’s theatre is one safe place to get your feet wet, though the bar for quality in local companies is sometimes not as high. One local company, itheatre, describes themselves as focused on “Theatre for children, youth and family audiences, producing plays of an international standard for Singapore and the region.” Every year The Prudential Children’s First Festival brings in excellent foreign productions. At the time of this writing, our beautiful Esplanade still seems to be conservative in it’s approval of shows for her venues (A local director told me they turned down his proposal of a “new work” for the 2006 Arts Festival because of it’s potential RA content). When it comes to seeing smaller productions and new plays, the newspaper will often print a contact number. Give them a call and tell them you think the play sounds interesting and then ask if there is any potentially objectionable content in the play. Often the box office will have answers to your questions.

Even with precautions taken, you may sometimes find yourself in the theatre watching something you’d rather not see. In my first year living in Singapore I found myself watching a student production of “Edmond” at La Salle. The website I found said “written by well known playwright David Marnet.” Now, I knew of the playwright David Mamet, and I knew that I really don’t appreciate his love for using “f_ _ _” in nearly every line of dialogue. I looked carefully at the name spelled “Marnet” on the screen and thought, “Hmm. If he’s well known, I’ve never heard of him.” I reasoned that this was a student production in conservative Singapore, so it couldn’t possibly be a David Mamet play. A few hours later I learned of the website’s type-o while watching a play about a married man who leaves his wife in search of sexual fulfillment in all areas of marginalized society. I’m not afraid to get up and walk out, but in the theatre as I watched, I prayed. Though my sensibilities were offended I still sensed no compulsion to leave. That afternoon I lost some of my innocence about the depth of human depravity. Eventually I was watching two men practice sodomy on the stage and I was praying for not only these student actors being tainted by their own performance, and the director who would ask this of impressionable young artists; but also praying for those in society for whom this play was a representation. I was praying for those who like the protagonist were following dark paths to spiritual destruction. When it ended I was disgusted and heartbroken. The director invited the audience to attend an opening night reception afterward. I sensed I should stay and continued to pray, “Lord, what will I say to them when I can’t offer an honest ‘loved your performance.’ What should I ask?” I stayed that evening and the Holy Spirit was faithful in guiding me through a couple of good conversations with and actor and the director. Conversations that never got to sharing the Gospel, but conversations where I could ask questions about hope and hopelessness and their emotional and spiritual well being after rehearsing and performing “Edmond” and how did they survive living for the 6 week rehearsal period in this world David Mamet had created.

As an offended audience member, what should a Christian response to theatre be? Ask and trust the Holy Spirit to tell you what to do. You may feel led to leave immediately or at intermission. Perhaps you’ll sense that he wants to teach you something from what you see in the performance, or the Lord may lead you to use the play’s content as a springboard to post show discussions that can lead to sharing your faith.

Another Christian response to theatre could be to study it. Taking courses in theatre is a a good suggestion, but offered again with reservation. Most Christians using theatre in the church don’t have the training we need to skillfully harness the power of theatre for God honoring ends. Theatre artists having the knowledge and skills we can learn from are difficult to love and respect because they are often outright haters of a God who is jealous for their loyal worship.

We’re also notoriously bad at being loving, gracious “salt and light” when we’re face to face in the world, especially those who are in-your-face "worldly." There is a lot of bridge-building that needs to be done in meeting and building relationships with theatre artists. You have to admit, any adult who has choosen an artistic career in Singapore has to have an exceptionally rebellious stubbornness. How else could a creative spirit survive an educational system which discourages individuality and “out of the box” thinking. From my experience, as a Christian in theatre, we're perceived as the enemy because we serve a God who asks everyone, even those of us with freedom loving creative spirits, to pursue righteousness and self-discipline.

Once backstage, I admitted to a member of the stage crew that I help churches in their use of theatre as part of worship. He said, “Oh please don’t say that. Tell me you don’t. It makes me nausiated just thinking about church drama.”

Another time I met a leader in Drama in Education who tried his best to cover his disgust and be tolerant of my utilization of drama in worship/Christian education. He said, “Isn’t that somewhat manupulative?” Obviously he was not realizing his double standard, since he promotes and utilizes drama to teach and convict students in other areas besides religion.

Despite all this hostility toward Christianity, I find that people in the theatre are some of the most spiritual people I’ve met. They may be following a spiritual path that I believe ultimately leads to destruction, but it is very easy to talk with artists about spiritual life. This can be frustrating in a postmodern discussion that seems to go nowhere, but it is also a source of hope. What if more Christians were praying for artists? What if Christians could learn to hate the sin but truly love the sinner? What if, instead of looking down our holy noses at theatre and the people in it, we believed that no one is beyond redemption and salvation. They are prophetic and gifted deeply spiritual humans what could happen if more of them came to Jesus and began letting their art reflect the transformation he brings? What if?

So here’s my final Christian response to theatre: Pray for it. Pray for the artists in it, the students of it, and those of us who are Christians in the midst of it. Pray that the Creator God would redeem this art form and the artists in it for his eternal glory without shame, without antagonism, and forever without any “cringe factor.”

Purpose Statement & Creed: Draft

spice to life

I have been formed by the Creator to be a creative, passionate person. As I live creatively, I purpose to passionately worship the One who made me.

I am confident and secure in His eternal love for me, secured on the cross and proven by his resurrection.

There are so many others who do not share this confidence. There are many also who have never experienced unconditional love and cheerleading from a human.

I purpose to use my passion for the performing arts and creative living to expose and invted others to His unconditional love, creativity and beauty so that they also can find hope, joy and fulfillment in knowing Him.

Working Out Your Acting Muscles

Imagination
As we grow up we forget how to use this muscle. Playing games helps us to remember how to use it. It also helps us get over the hurdles of fear and complacency, allowing us to have fun. When we are enjoying ourselves, we forget about the things that are scary or are a little too difficult. In the midst of play, we starty to remember how to imagine.

1. Story Telling in a circle – One person starts story and passes it on to the next one to continue the story.
2. Alphabetical Story Telling – Players stand in rows and begin story but the first word of their sentence must begin according to the alphabet sequence.
3. Occupational Entry – Players given occupation and as they enter the door they must begin to establish their occupation
4. Statues/Tableaus – Give a word and teams form statues that depict the word.
5. Machines
6. Invisible Ball – Sit in a circle. Teacher shows a ball shape, size and weight. As ball is passed remember to retain shape, size and weight. After one round, change size or weight.

• SEE WHAT IS HANDED TO YOU
• WHAT MUSCLES WILL YOU USE TO CARRY SUCH WEIGHT
• KEEP IT CONSISTENT
• SEE WHAT IS HANDED TO YOU.

Working Out Your Acting Muscles:OBSERVATION

Observation
As actors, we are very much a reflection of the world around us. But before we can reflect it we must first see it. We need to get ourselves out of the SCAN mode and actually observe and retain what we see passing our lives.

1. What's different? In pairs actors face one another and examine the details of their partner. Back to back they change 3 things about how they look. Facing each other again, they must say what is different.
   
   
2. EXPOSURE: LOOK AT US AND WE’LL LOOK AT YOU - Divide group into two teams. Have one group stand and another group sit (Audience). Have them observe each other. They will begin to feel very uncomfortable but keep encouraging them to observe each other. Do not allow audience to laugh. THEN GIVE GROUP ON STAGE AN ACTIVITY TO DO.
   Swap Groups
   Evaluation: How did you feel? How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc

Got other examples of exercises that build this muscle? Post them in comments!

Working Out Your Acting Muscles: CONCENTRATION

An actor’s ability to keep things consistent is one of the important building blocks of character development.

1. The Mirror
2. Diamond Ensemble

others? add to comments...

Working Out Your Acting Muscles

Memory
Our memories are a store house of acting information. So developing our memory capacities and capabilities are of utmost importance.

1. 24 hours: This is your life - Call out the hours in a day and starting from 6am by the hour and as the hour is called students will enact a typical activity or action found in a-day in their lives.
2. Emotional Entry - Participants stand outside the door and enter displaying the emotions given by Teacher. The rest try and guess.
3. Group Touch 2 Teams - Select familiar object or substance. Once team agrees they go onstage and play simultaneously in the space. Focusing energy on the object or substance.
   FEEL TEXTURE
   FEEL TEMPERATURE
   FEEL WEIGHT
   FEEL SHAPE
4. TASTE AND SMELL - sensory
   2 Teams- Select and agree on something simple to eat. One groups at a time go on stage to taste, smell and eat the food selected.
   CHEW THE FOOD
   FEEL IT TEXTURE IN YOUR MOUTH
   TASTE THE FOOD
   LET IT GO DOWN YOUR THROAT
   EVALUATION: Audience what are they eating? Players is that right?
   

Got any other exercises to build this muscle? Post it in the comments!

Playwriting: Creating a Character

Before getting started, make some decisions about who your characters are!

Name:

Physical Characteristics:

Age:
Date of Birth:
Height:
Weight:
Eye color:
Hair Color:
Skin color/tone:
Posture:
Grooming:
Vocal Quality:
General Appearance: (indicate degree of attractiveness,elegance or crudeness, sex appeal, “presence,” general health, any physical problems or defects, etc.)

External World

I. Family Situation
Father: (include age, if alive, or how long ago he died, occupation, any special characteristics, nature of relationship with, etc.)

Mother: (same as father)

Siblings: (brothers sisters, ages, special characteristics, nature of relationship with, etc.)

Other important relatives: (what relation, ages, special characteristics, nature of relationship with, etc.)

Family’s ability to function: (happy, normal, disruptive, dysfunctional, unusual in some way, etc.)

Marital status: (if not married, describe any significant romantic relationships. If married, how long?

Weekend Script Writing Course

@Canning Garden Methodist Church
I had a wonderful time in Ipoh making some new friends! Thanks for being such great hosts and eager students! Now that it's over, send me your drafts and I'll post them here with feedback okay?

“The best way to get a good idea is to get a lot of ideas.”  --Linus Pauling, Nobel Prize, Chemistry

25 July, Friday night
With Acting Class:
Introductions, Sample Reader’s Theatre: “The Annunciation”

Class time:

• Example script: “The Killing Spree”
• Elements of a Good Script: Lecture with handout, identify those elements in "The Killing Spree"
• Flash Writing Ice Breaker: “She walks into the room and locks the door behind her…” Participants continue writing from there.
• Read samples aloud when finished. What creativity!
• List up to 20 influential experiences in your life. Many are stumped!
• Prayer for inspiration!
• Small groups: share ideas, get feedback

Aiya, there’s Homework!

• Read “Elements of a Winning Sketch” from Steve Pederson’s Drama Ministry.
• Brainstorm the 10-20 most important things you believe – values you hold, issues that are important.
• List 10 of your favourite stories

List people you know or characters you’ve met in movies, books or plays who also hold these values. Then do the same for characters who would be antagonistic toward those values.

“Nothing is more dangerous than an idea when it is the only one we have.”  Emile Chartier, French Philosopher

24 July, Saturday AM

• Flash Writing: Slips of paper – quotes on desks. Some share their inspirations! Marvelous!
• Discuss the DRAMA MINISTRY chapter (with notes on white board) 1. Essence of Drama=conflict; 2. Basic Elements of structure; 3. Action: Show don’t Tell; 4. The Power of Drama is that is seems REAL, not one dimensional ie all good, or all bad!; 5. Editing out the extra verbage: Cut anything that doesn’t give background, advance the plot, develop the character more.
• Flash Writing: Pick an influential experience with most conflict. Write dialogue in the middle of that conflict.
• Discussion of participants experiences. Ideas for making into a story with a beginning, middle, and an end. Name the protagonist, antagonist and conflict.

Afternoon Videos
Willow Creek Sunday Morning Live, vol 1
    “Tired When Needed”
    “Is Nothing Sacred?”
Friends of the Groom Live (on tape)
    “One Day at a Bus Stop”
    “Tale of 3 Trees”
    “The Lighthouse”

24 July, Afternoon Session:

• Play Idea Worksheet (limit you play to 3 characters)
• Character Worksheet for 2 characters
• Dialogue Discussion: 1. Ellipsis…, 2. Interruptions--, 3. Half Finished sentences, 4. Replacing words with physical actions, 5. Beats & Pauses, 6. avoid long sentences or more than 3 sentences at a time for your characters, 7. avoid clichés, 8. don’t let you characters “let go” with their emotions, but fight emotions (like in real life)
• Discussion of Reversals and Surprise with video examples from The West Wing (“In This White House” episode #24 Sam’s debate with Ainsley Hayes, and Leo later offering her a job)
• End Early to continue brainstorming, work on Play Idea Worksheet, Character Worksheet, and outline come back at 8PM.
• Synopsis: Minimize the entire idea for your play into three sentences that includes beginning, middle, end, your protagonist, antagonist and the conflict.

24 July, Evening Session
• Discussion: Where each participant is with their ideas…Help along the ideas with group input. The wind is back in our sails! This is actually FUN! Nearly everyone left inspired and excited.

Homework
• Write an outline for your play or sketch. Draft at least a page from the play. If you can, finish a draft of one scene to be read tomorrow.

25 July, Sunday Afternoon
Lectio Divina: Monologues that come from meditating on Scripture and putting yourself in the story, as one of the characters or an eye witness.
SAMPLES:

• “Rancher” - Local Pig Farmer from Traveling Light
• the acronyms for Stage Directions ie. USR, DSR, DSC etc. and SFX = Sound Effects)
• “Doubting Thomas” from Max Lucado
• “Mary’s Firstborn” – Kimberly reads

Break

• In smaller groups of 3, read over your drafts

Join Acting Class to see their works in progress, and have Readings of your drafts by the acting participants.

Thanks everyone for a great weekend!

Trinity: Intro to Acting Workshop SCHEDULE + notes

Intro to Drama Workshop in 3 Sessions
TRINITY CHRISTIAN CENTRE
(Sept 16 & 18th 2004)

In this 3 session course, participants will explore and stretch the “muscles” used in acting. These are:

Relaxation
Memory
Observation
Concentration
Imagination and
Reaction

We’ll stretch these muscles through a series of drama games and exercises. You will quickly discover that this kind of “work out” is not only good for actors, but can help you learn to be a more creative person. Drama skills give you more self confidence, help you “think out of the box” for a difficult assignment at work, are an indispensable asset in parenting, and develop a greater appreciation for how God made you, and who He is as Creator God.

Our first session Thursday night will introduce you to the muscles and skills needed for drama. We’ll relax, stretch, play some simple but very interesting and fun games that ease you into stretching these muscles (Don’t worry, we promise never to laugh at anyone if you’re really out of shape!).

Saturday from 2-7 we’ll continue to work out those muscles, adding games and exercises that build on the ones from the previous session.

We’ll not only give participants opportunity to stretch and work out, but along the way, some of the Creative Arts Team will offer samples of a variety of styles in sketches for worship.

Wear comfortable clothes. Bring a water bottle and something to keep notes. And most of all, come with a sporting attitude! We’re going to have a lot of fun, but we’re also going to work! Just like any physical workout, this drama workshop will leave you both exhausted and energized!

THURSDAY
16 September 2004 8PM –10PM

Music as people enter
Registration at door = sign in and make a name tag (Jerry)

8:00 GAMES – people observe the game and join in once they understand. (Kat)

“Hey!” TOSS –
2 lines facing each other. Toss “Hey!” across to other line using different pitches, speeds and actions.
ZIP-ZAP-ZOG –
In a circle, one person at a time tosses a “zip” “zap” or “zog” to another. Must keep the rhythym and order, or you are eliminated.
INTRODUCTIONS –
In a circle, one at a time, introduce your name with a movement using your whole body. The entire group repeats what you’ve said and done, trying to copy you exactly.

8:15 ORIENTATION (k!)

“Hey! I thought I signed up for a drama workshop! Why are we playing silly games instead? What I need is to get on with the real work of acting. That is precisely what theatre games are about.

So what are theatre games? They are non-threatening exercises that help teaching acting principles.

They challenge us to leap over stumbling blocks that hinder us as actors.
Two key stumbling blocks are:

FEAR – Of failure, of looking stupid in front of peers, looking fat etc
COMPLACENCY – We get so comfortable with a role or approach to acting that we no longer stretch beyond these boundaries.

Playing games helps us to leap over these hurdles by allowing us to have fun. When we are enjoying ourselves, we forget about the things that are scary or are a little too difficult. In the midst of play, we learn how to reach our goal.

Look at us, We’ll look at you - exercise. (K!)
Divide group into two teams. Have one group stand and another group sit (Audience). Have them observe each other. They will begin to feel very uncomfortable but keep encouraging them to observe each other. Do not allow audience to laugh. THEN GIVE GROUP ON STAGE AN ACTIVITY TO DO. Swap Groups. COACH: “How did you feel?
How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc”

BECAUSE WE HAD SOMETHING TO DO- It is this “something to do” (focused energy) that we call the actor’s focus. This embarrassment or awkwardness will be replaced by your actions and focus.

8:30 SKETCH “Getting in Shape with Hanz & Franz” sketch reading (read it over and we’ll decide thursday)

8:40 ACTING MUSCLE #1 – RELAXATION

“The Art of the Holy Backrub” (K!)

STRETCH, YAWN, SHAKE (Linda)

8:55 ACTING MUSCLE #2 – OBSERVATION

OUR FATHER & THE ENEMY (Mei Yee)

9:05 ACTING MUSCLE #3 – MEMORY

A DAY IN YOUR LIFE (Jaz)
Talk the group thru acting out 24 hours. Encourage them to let their bodies remember what different things feel like. Make it real to yourself, don’t just anyhow pretend things. Do you really sleep like that? How high is desk? Where exactly is your alarm clock? Do you really hold the phone like that? Or eat like that (so fast?) etc. NO LAUGHING and don’t use sounds or words. Concentrate on the actions.

9:25 ACTING MUSCLE #4 – IMAGINATION

MACHINES (K!)
As realistic as possible. Assign machine to groups of 5-6. One person is chosen to start a part of the machine with sound. Gradually add other players. The other teams must guess.
Ideas:
TYPEWRITER
CD PLAYER
MOTORBIKE
GRANDFATHER CLOCK
STANDING FAN
FRIDGE
WASHING MACHINE
VENDING MACHINE
FOOD MIXER
PHOTOCOPY MACHINE
PIANO
LAWN MOWER
TV

9:35 ACTING MUSCLE #5 – TEAMWORK/REACTION

EMOTIONAL SCULPTURE GARDEN (Linda) Groups of 3-5. Depending on size and time. One group at a time, or ½ the group freezes first while the other ½ strolls through the garden (Don’t make them freeze too long!!). They can’t “plan” the sculpture – encourage quick thinking and teamwork. Give them the emotion, then tell them you’ll give them a count of “5” to make the statue(s). Encourage them not to be afraid to touch each other, and make many different levels to create an interesting picture/sculpture of this emotion. It should not look like a few INDIVIDUALS posing.

9:45 ACTING MUSCLE #6 – CONCENTRATION

STORY GO ROUND (Alfred)
Sitting in a circle, the group gets to tell a story about a person who signed up for this drama workshop, came, survived, and how they felt at the end of the first night.

9:55 CLOSING PRAYER (Linda)

10PM FINISH

Saturday 2-7PM

2:00 Game BOOM TAG (K!)

2:15 RELAXATION WORKOUT

Sponge – Isolations (Linda)
Laying on the ground. Tensing, wriggling, relaxing different parts of body.

2:30 OBSERVATION WORKOUT

Change 3 Things (Jaz)

2:40 MEMORY WORKOUT

Growing Up – Infant to 80’s (K!)

Occupational Entry (K!)
Everyone in the group writes on slips of papers 1. occupation, 2. a character trait, 3. a problem. Each participant takes turns selecting one each. They leave the room and when they come back in they act it out for the rest of the group to guess. Doesn’t have to be a silent exercise – use words.

3:30 CONCENTRATION WORKOUT

Invisible Ball (Linda)
In a circle the leader establishes a ball shape, size and weight. As ball is passed remember to retain shape, size and weight. After one round, change size or weight. See what is handed to you.
What muscles to you use to carry this weight? Keep size and weight consistent.

3:40 SKETCH “Peter’s Mother In-Law” (Mei Yee)

3:45 TEAMWORK WORKOUT

Slide Show (K!) Using “Peter’s Mother-in-Law” again, the teams will make living pictures of the events in the story. Give a costume piece to Peter, mum, and Jesus to pass on to each group to identify the character.

“His mother in law’s place.”
Peter bringing the Guru and all his friends over to his mum’s house after temple.

“Came in to see little old me.”
She’s sick and Jesus comes to see her.

“The fever disappeared!”
healing

“Nasi Lemak”
everyone enjoying her good cooking.

“He touched everyone of them!”
Jesus healing the sick.

“They all knew exactly who he was”
reaction to Jesus.

4:30 BREAK

4:45 SKETCH “Tourists at the Triumphal Entry” (Jaz, Kat)

5:00 IMAGINATION WORKOUT

Join the Environment (Mei Yee)
Give an individual an environment to be in on stage. Individuals in the group join her on stage in that same environment. Not a mime! Be realistic.

OPEN DIALOGUE (kat) NOTE: This dialogue needs to be printed for ea participant.
An open dialogue is a script, usually short, that is quite generic. It is adaptable to many different characters, settings, and situations. Within the limits of a set dialogue, the actors are free to explore character. The exercise demonstrates how meaning is established less by lines and more by how the lines are said.

A: Hi.
B: Hello.
A: How's everything?
B: Fine. I guess.
A: Do you know what time it is?
B: No. Not exactly.
A: Don't you have a watch?
B: Not on me.
A: Well?
B: Well what?
A: What did you do last night?
B: Nothing.
A: Nothing?
B: I said, Nothing!
A: I'm sorry I asked.
B: That's all right.

Actors could, on their own, develop the who (who these characters are), the where (setting for the scene), the what (what is happening, what the issue is). Or a leader could assign different settings/characters. Here are some possibilities for the above dialogue: (I) a casual pickup (2) husband A, wife B meeting after a trial separation (3) father A and daughter B after she's been out far past her curfew the night before. The setting is breakfast. (4) college friends meeting after each suspects the other of dating their boyfriend (5) B about to murder A (6) lovers meeting for only a few moments (7) before a double suicide (8) A about to rob B.

5:45 MEMORY WORKOUT

Action to Emotion (K!)
Rather than simply physicalize a response to a word, the actors are encouraged to come up with an action that will create the appropriate response. Say; for example, the word is "spiteful." An actor could create a scenario like the following: "My roommate has an 'addiction' to new clothes and, once again, has stolen money from my wallet and gone shopping. I've confronted her with this before, but it has happened again. I'm not going to let her get by with it this time, so I get a scissors and go to her closet and cut the sleeves off every one of her blouses. I then take the sleeves and lay them neatly across her bed-to spite her." It is not hard to see how miming this action can produce the emotion of "spite." Rather than pre- tending at "spite" from "out of the blue," specific action is relied on to produce an authentic feeling. Take the word "cautious." Rather than just acting cautious, an actor develops a scenario such as this: "I am a prisoner of war, trying to escape at night. I have to make my way across a large field without blowing up a booby trap. I crawl on my belly, inching along cautiously (probably with a fair amount of fear as well!)." It's important that each actor is given time to think through their story; to enter into it. It is often fun for everyone to be working with the same word. Or assign a different word to each actor. Here are a few more: embarrassed, bashful, frantic, breathless, awkward, jovial, quarrelsome, irritable, scornful, dazed, apprehensive, violent, exhausted.

6:00 SKETCH: “The Separation” (Jerry, Kat)

6:10 TEAMWORK/CONCENTRATION

Mirror Exercise (K!) in pairs

Diamond Ensemble (K!)
In groups of 4. Uses music. Last song is worshipful.

6:50 CLOSING PRAYER (Linda) at the end of the last Diamond Ensemble piece, just begin a closing prayer. And then dismiss the group.

6:55 “And now for your feedback” form

7:00 FINISH!

Elements of a Good Script

Here are a few things that will help you gain more clarity for your piece:

Target Audience
“Who are you writing for?”
Children, Youth, Adult, Senior Citizens, Ethnicity, Christian, Un-churched, Educated, Illiterate

Venue
“Where will you be performing?”
school, church, Senior Citizen’s Center, street, café or bookstore, hall, theatre

Resources
“Can you afford it?” “Can you obtain the necessary props & set?”

Styles
“How are you going to say it?”

Make sure it is appropriate for stage presentation (and not movies which can make major shifts in location immediately!)

Here is a list of some styles...Realistic
Allegorical
Stylized
Children’s
Sit-Comedy
Dark Comedy
Physical Comedy Drama
Melodrama
Vaudeville
Musical
Puppet
Radio Drama
Readers Theatre
Mime
Clown

Theme
“What are we trying to say?” and “Why should anyone care?”

A Bit About Structure

Premise “Is the point of view clear & well developed?” “Does it appeal to the imagination?” “Is it interesting?” “Is it believable?”

Conflict “Does it grab your interest and make you want to see what happens?”

Characters “Are they believable?” “Are they likeable?”

Good Dialogue “Does it concisely move the story forward?” “Does it refrain from being too preachy?” “Does it avoid answering the central conflict with platitudes and cliches?”

Story/Plot “Can you easily identify the outline with a beginning, middle and ending?”

Sketch: Sticks to one idea, usually set in one place.
One Act: One idea or situation played out in more than one scene.
Full-Length: In 2 or 3 Acts, traditionally lasts anywhere from 90 minutes to over 2 hours. Covers multiple ideas, situations, and characters.

God Bless you in your writing!

Buzz' Play Idea Worksheet

Here's the best book on playwriting:

Available from Amazon.com.

HERE'S THE WORKSHEET
A good discipline to start when beginning to write a play

Date:
Working Title:
Central Character:
Central Character’s dominant need:
Other major character(s):
Setting:
Occasion:
Major conflict/dilemma as it manifests itself in action:
Resolution:
How the central character changes by the end:
Dramatic premise: