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Title Page
Voices
for
Good Friday
Worship Services
with Dramatic Monologues
Based on the Gospels
Amanda J. Burr
Abingdon Press
Nashville
Copyright page
To my Uncle Phil, who was, after Mom and Dad, my first fan
Voices for Good Friday
Copyright © 2014 by Abingdon Press
All rights reserved.
Narratives and specified worship-service elements may be reproduced or displayed when used in non-commercial, congregational worship settings and events.
Otherwise, no part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the publisher. Requests for permission can be addressed to Permissions, The United Methodist Publishing House, P.O. Box 801, 201 Eighth Avenue South, Nashville, TN 37202-0801, or emailed to [email protected].
ISBN 978-1-4267-8433-0
Scripture quotations are from the New Revised Standard Version of the Bible, copyright 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
Hymnal references in the worship services are The United Methodist Hymnal, copyright © 1989 by The United Methodist Publishing House; and The Faith We Sing, copyright © 2000 by Abingdon Press.
MANUFACTURED IN THE UNITED STATES OF AMERICA
Introduction
Introduction
HOW TO USE THE STORIES
This book is divided by lectionary year, so the stories in each section correspond with stories from the gospel designated for that lectionary year:
Year A (Matthew)—On the Margins
Year B (Mark)—Out of Darkness
Year C (Luke)—There Is a Balm
I wrote these stories for Good Friday services in the congregations I have served, inviting church members to play the different characters. The stories are first-person accounts and should, therefore, be delivered as monologues or, in the case of the Gadarenes, as dialogue. The person or persons telling the story are the eyewitnesses. The story they are telling is their story.
Encourage readers to read even more slowly than they think is slow enough, so they don’t stumble as they read. When a reader stumbles, it is because he or she is reading too fast. Slow down.
I remember having the opportunity to do what is called an “under-fives” (under five lines) on Days of Our Lives many years ago. Being trained as a stage actress, I naturally project my voice, but the TV folks kept telling me to tone it down: “You don’t have to speak so loud.” There was a boom microphone right over my head, and I guess my voice projecting was blowing out the eardrums of the sound technician.
A microphone does not make up for, or magically improve, inarticulate speech. So encourage the readers to ar-tic-u-late their words.
If any of the readers for the monologues have trouble with their eyesight and need really large print, give them a large-print script for easier reading.
Setting Your Stage
These stories have been used in an evening service, whether a service of darkness—Tenebrae—or the pastor’s own format. With each set of stories, I have included worship service formats that you can use. There are a number of Tenebrae service formats that intermingle Scripture, hymns, and the gradual darkening of the sanctuary. These stories can be used in most service formats as the homiletic portion of the service—one after another or spread out.
As Reader’s Theater
For a reader’s theater format, do use handheld microphones. Readers can be seated on stools or chairs with microphones set on stands in front of them.
Have the readers dressed in black (no bling or spangles). When one reader is reading, the other readers are still. They should not be turning the pages of the script following along with the current reader. They should remain focused on their own script or the person reading. It is important that they remain still so as not to distract or detract from the telling of the story. The service is designed to flow by means of these stories.
As a Staged Performance
For a staged performance, actors should memorize their monologues. If they are not prepared to memorize the piece, then it is reader’s theater and should be performed as instructed above.
As Pulpit Narration
In this setting, each actor steps into the pulpit or up to the lectern and delivers the monologue, in the same focused way used in the reader’s theater setting. If you choose to use the worship formats included in this book where Scripture is intermingled in the liturgy, the dramatic reading following the Scripture or a hymn, I would advise utilizing both the lectern and the pulpit, alternating them to keep the service flowing.
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