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Performing the Word: Preaching as Theatre

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Looking at the title, traditional Christians may have a problem with the association of preaching with theater. Childers addresses this issue openly. She argues in her book that even though preaching is *not* acting, preaching can learn from actors.

Childers believes that preaching is not merely sharing a sermon manuscript, but rather is a transforming and theological event. Unlike acting though, preaching is a serious matter that involves theology. The problem is that preachers often times lack passion. She quotes Thomas Betterton saying, "Actors speak of things imaginary as if they were real, while you preachers too often speak of things real as if they were imaginary."

Theology is important to preaching-they work together in a "dialectical relationship, one shaping the other." (p. 25) Theology keeps preaching focused on matters of ultimate importance. There are three categories in defining the purpose of preaching: maintenance, persuasion, and encounter with God. Childers prefers the encounter model of preaching because she sees preaching as revealing God, even though this model does not exclude maintenance or persuasion.

Rather than trying to argue people into heaven, we should use lively preaching so that listeners are not on the defensive and to help people feel free to change. Preachers have often focused too much on the manuscript at the expense of the actual preaching event.

Preaching is an art form. According to Childers, the church often overlooks art as merely a tool to be used. We tend to think of art as novelty or propaganda. But art is more than that-it is the stuff of life. Preaching is an art form because it uncovers the ambiguities and incongruencies of life. Preaching and art both hold a "mirror up to life."

Some elements of theater are applicable to preaching:
1) Actions (or movement),
2) Distance (prevents people from going on defensive),
3) Performance --One problem is that many people are concerned with preachers performing. But performing means to "carry though to completion" Paying attention to performance means increasing intentionality which heightens authenticity.

Childers describes the three parts of the creative process in theological terms. The first phase is "Creation" which is when the preacher listens to what the text says. Incarnation is the second phase when the preacher joins with the text and becomes a third entity, just as the actor joins the script and becomes a new being. The third phase is "Transformation" which is a result of the union and changes the preacher.

Childers reviews some exercises that preachers can use in training for performance. She emphasizes the importance of voice training. A lot of people think that voice training will make them sound fake, but she says that, "The goal of voice work, in fact, is quite the opposite: to uncover the best you, the most natural you." (p. 60)

Following voice training is the subject of vocalics, or orchestration. Four elements of vocalics are rate, pitch, volume and the use of pauses. The key to good orchestration is variety. She shares a few good tips on pausing. Emphasis is also important for clarifying the meaning of a message. Changing the word that is emphasized can change the meaning of a sentence.

When a preacher reads a passage that is going to be expounded, he should imagine what kind of movement will express the flow of the text, and what kind of gestures depict it.

Like actors, preachers should internalize what they are reading. They should express the emotions of the text, and not sound like a "stained-glass-window voice." Childers talks about principles of interpretation when it comes to performing the Word. These include the willingness to listen to the text and subordinate our will to the will of the text.

Another critical element is that of concentration. Preachers tend to have the glazed gaze when they look at their audiences. They need to focus on what they are doing at the moment and "listen" to their audience.

Finally, Childers talks about the role of plot and blocking in preaching. Plot applies both to the sermon and the worship service itself. It has conflict, climax and resolution. And blocking can be applied to preaching because it makes sure that the audience can see what is going on.

See also my review on "Comedy and Preaching" by Joseph M. Webb.

There is simply no better guide to the performance of scripture and sermon out there. Childers' approach is simple, to the point and absolutely fundamental to anyone who wants to learn how to speak in front of a crowd, give sermons or read scripture. She uses frequent and poignant examples to make her point and draws extensively on her knowledge of theatre to show how this time-honored artform has direct applications for homileticians.

This book is superb for all beginning homeletic students. Finally a book that gives us "How To" use our bodies, minds and
Spirit to give excellent holy ghost filled preaching from a pulpit. This book is a breath of fresh air from all the theology filled "wannabe" preaching techniques. Thank you Ms.Childers for answering the prayers of a fellow minister.
A must for every seminary student and Christian who looks forward to lively well presented sermons of the gospel. Bravo!!!

Minister D.F.