| Summary: | Dramatization is a form of acting in which the player experiences the
dramatic scene in a state of great tension. It implies imitation, identification
and speech in dialogue form.
Many peoples knew from of old the combination of cult and play. The
cultic performances were considered to be effective actions: in that
way they thought to receive good gifts from their gods and to be able to
ward off bad influences.
Just as ancient classical drama has developed from the religion of the
Greeks, Christian drama arose from the liturgy of the Roman Catholic
church. Similar to what was going on outside the church in the way of
dramatic performances, the church itself very early proceeded to
perform liturgical and semi-liturgical plays. At the outset dressed-up
priests were the actors and they made use of liturgical dialogues. All
important is the intrusion of the trope. To the original text of the
Bible such additions were made as to produce a really topical, lively
conversation. Here lie the beginnings of the liturgical drama or play
which, first inside the church, later extra-mural, played such an import
ant part in the religious education of the masses:
At first the liturgical plays took as their basis the Redemption of the
world as accomplished by the Nativity, the Passion and the Resurrection.
These crucial facts of sacred history were repeated as a dramatic
play. The basic pattern of this repetitional character is to be found
in the Mass or in the sacrifice of the Mass.
This repetitional character is contrary to the Word of God. In this
connection we would refer to e.g. the redemptive-historical testimony
of the Epistle to the Hebrews.
As the centuries passed by the number and size of the liturgical plays
increased. Dramatic practices were increasingly secularized. Dramatization
was taken to be an excellent illustrative method of teaching
people. We are here dealing with a motive for conversion tactics.
Because the dramatic play imposes its own exigencies it is obvious that
the contents of the biblical events underwent drastic changes.
The biblical play developed into popular entertainment.
Because medieval schools freely adopted the subjects taught by the
Classics and their methodology, these schools, too, were familiar
with dramatization as part of their curriculum (notably the grammar
schools). In the 16th century the performance and the reading of biblical
and classical plays had become part and parcel of school teachings.
Reformers, Luther in the first place, were great sticklers for an intensive
use of school drama. They considered acting pre-eminently
as a form of moral and religious education. Proponents of the Reformation
looked upon it first and foremost as a means to bring home
scriptural knowledge in a fascinating way to people and as a vehicle to
polemize with Rome.
As, influenced by Humanism, the formative element increased, the
element of devotion decreased and school drama tended towards popular
comedy. In those regions were the Reformation had obtained a form
footing arose an extensive school drama with biblical plays. Public performances
of these plays should also be seen as a means of publication
in those days.
School drama flourished till about 1620. From Holland the Brethern of
the Common Life have played an important part in its development.
In Holland school drama reached its peak at about 1530. The spiritual
battle of the 16th century was reflected in it. This is evidenced especially
by the parable of The Prodigal Son.
Dramatic representation of biblical events may be considered as a
method of teaching with a character of its own. From a psychologic-didactic
point of view it is a method of learning by imitation, identification,
memorizing, conversation, self-discovery, play and (often)
free expression. It was especially Hausmann who saw learning and dramatization as a unity.
According to him innate dramatic instinct of .mankind is a primitive
didactive phenomenon.•
Advocates of educational reforms• in the 20th century emphasize the
great educational significance of play and free expression for young
people. There grows a play-psychology and pedagogy which also influences
the methodology of religious teaching at schools and in youth clubs.
The underlying motives for present-day recommendations of biblical
plays are of a psychologic-didactic nature. In the valuation of this dramatic
teaching method for religious education we consciously oppose
the "child-centred" notions of R. Goldman and his method of investigation.
He who wants to preserve the peculiar character of the Word of God,
who does not want to take away from it, nor add to it, should not base
his valuation on that which is present of psychic data in the child.
(experiences, desires, phantasies, interest in play).
In the dramatic representation of biblical events there is no getting
away from interfering with the character of redemptive history. The
burlesque, identification, and an actualizing presentation run counter
to and undermine the redemptive-historical and Christ-centred character
of the Word of God,
With all appreciation that could be ascribed to play-activities in education
we hold that their application in religious teaching for young
children will only be an obstacle to the proper understanding of the Word
of God. Further reflection on the arguments in favour of biblical plays
led us to a dissenting vote.
In the history of the church the "dumb" images, which were credited
with the power to edify the masses, were opposed by the Protestants.
The living proclamation of the Gospel is likewise at variance with dramatic
ally "speaking" images.
He who wants to play take heed lest he forfeit the Word of God. === Proefskrif--PU vir CHO
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