Dramatic Parables, God's method of teaching the Gospel. More than 30 complete scripts, with How To section on producing Christian plays, and a Bible study section presenting the case for parables and plays in a church setting. Dramatic Parables, teaching the Gospel of Jesus Christ. The book includes unresolved plays to aid in bringing home the point in sermons, scripts aimed at younger children appropriate for use in Vacation Bible School, homeschooling, teaching in private schools, and includes mimes (dramatic sketches without speaking), comedies and tragedies, with always a parable, and storytelling making the difference.
© Copyright 2011
Douglas Christian Larsen. The BIG Book of Gospel Drama. All Rights Reserved by the Author. No part of this book
may be reproduced (except in the case of brief quotations embodied in critical
articles or reviews) or transmitted by any means without the written permission
of the publisher, Wolftales UNlimited.
ISBN #: 978-1-257-11563-1
Content ID: 10318460
Dedication:
This Big Book of Gospel Drama is dedicated to
all those storytellers that love God, and employ His method in teaching the
Gospel of Jesus Christ, Yahshua Mashiach.
God bless you and your family!
Art et Amour Toujours
Douglas Christian Larsen
FREE Sample Dramatic Scripts
(from The BIG Book of Gospel Drama)
What is Gospel Drama?
similitude
RESEMBLANCE,
similarity, likeness, sameness, similar nature, comparability, correspondence,
comparison, analogy, parallel, parallelism, equivalence; interchangeability,
closeness, nearness, affinity, homogeneity, agreement, indistinguishability,
uniformity; community, kinship, relatedness, archaic semblance.
Oxford
American Writer’s Thesaurus
par-a-ble
1. narrative
of imagined events used to illustrate a moral or spiritual lesson. 2. allegory.
-a fable, lesson, morality tale.
Oxford
American Desk Dictionary & Thesaurus
dra-mat-ics
performance
of plays by amateurs, the technique of acting as a branch of study
New
Webster’s Dictionary & Thesaurus
Drama is God’s Method of Teaching
The drama is
God’s preferred method of teaching, both in the Old and New Testaments of the
Bible. In the Old Testament, God presented dramas through His prophets, in the
cases of Ezekiel and Jeremiah, the prophets acted out their messages. They
actually became actors, going through dramatic motions, miming God’s message to
the people through drama in motion.
God uses actual events in the lives
of real people to teach others His Gospel truths, such as Abraham’s offering of
Isaac, which illustrates John 3:16, as well as the life of Joseph (he was sent
out into the world to find his lost brothers, they rejected and “killed” him,
yet upon his “resurrection” he eventually proves their very salvation).
The whole Sanctuary Service with its
apartments, furniture and rituals, was an illustration of the entire Plan of
Salvation, fulfilled at the cross, and all the Biblical Feasts are “plays”
which teach of the future, including many things that have not happened as yet.
In the New Testament Jesus taught
with parables and dynamic life lessons such as the withering of the fig tree —
we are told He never spoke without using parables. Is it true? Did He always
employ parables? We are told that He never spoke without employing parables. In
other words, Always a Parable. Do you
believe the Bible? Did Jesus ALWAYS teach by comparing the greater thing, the
reality, to this lesser thing, the shadow? The Bible tells us that the whole
Law of God is a shadow that teaches us of the greater reality (see Hebrews
10:1), God’s perfection. We definitely are headed toward this reality, but have
not and have certainly not achieved as yet.
The Gospel Drama — “How-To”
The Drama and Your Motive
If you are considering introducing
drama to your church, whether it be in your main service, study time, vespers
or Wednesday night Bible study, it is important to do so for the right reason.
Why do you want to introduce drama? If it is because this is a means to teach,
employing the same techniques and methods that Jesus used, then this is the best
of reasons.
Following Christ’s example (Mark
4:34, 1 Peter 2:21, John 13:15) is a valid reason to introduce drama (but then
again, most churches do not honor footwashing, and Jesus actually commanded
this in the first Lord’s supper, but most people today find it just a little
too icky).
Is it because you want to liven up
your fellowship?
Entertain the members, possibly
attract more numbers to your service? If this is the reason, you should
prayerfully consider your motives, and discuss the consequences with several
Godly friends, first, before employing drama.
The drama is a method of praising
God, of worshipping Him, of fellowship with like believers, of presenting Bible
truths to nonbelievers, employing your spiritual gifts and especially, allowing
the Holy Spirit to work through you.
How
is it then, brethren? when ye come together, every one of you hath a psalm,
hath a doctrine, hath a tongue, hath a revelation, hath an interpretation. Let
all things be done unto edifying.
1 Corinthians 14:26
The Dramas
1.
Peace on the Battlefield
Scripture
Keys:
For God so loved the world, that He gave His only begotten Son,
that whosoever believeth in Him should not perish, but have everlasting life.
John 3:16
For it pleased the Father that in Him should all fullness dwell;
And, having made peace through the blood of His cross, by Him to reconcile all
things unto Himself; by him, I say, whether they be things in earth, or things
in heaven. And you, that were sometime alienated and enemies in your mind by
wicked works, yet now hath He reconciled in the body of His flesh through
death, to present you holy and unblameable and unreproveable in His sight.
Colossians 1:19-22
Script Pointers:
This production can be done in full
regalia, i.e., everyone in military uniforms, huge folding maps, military
paraphernalia, etc., or the same thing can be accomplished with attitude. If
everyone acts “military” with sharp salutes and marine-straight posture, the
concept comes across to the audience.
Always
Pray:
Pray before Practice, and pray before
Performance.
Peace
on the Battlefield
(GENERAL standing at map-covered war table with LIEUTENANT
advising, both visibly upset, studying maps)
GENERAL:
(tapping on a map, comparing to another map) For the time being a
limited airstrike is out of the question. There are just far too many of our
people mixed in — too many innocents will be harmed.
LIEUTENANT:
These rebels have reneged on every pact you have offered them,
General. They cannot live in peace — their very hearts cry out for war and
bloodshed. How much longer will you contend with them?
GENERAL:
I am afraid not much longer. Still, I cannot bring myself to
annihilate them. I cannot help but love them. Even now.
LIEUTENANT:
Of course I respect your judgment, General, Sir, but I cannot help
but think that the situation is hopeless. These rebels break peace treaty after
peace treaty, they trample on pact after pact, agreement after agreement.
GENERAL:
Still, we must prepare for our ultimate negotiation. (pointing
through maps) For now, we will proceed with our rescue mission: I want a
contingent of our best commandos dropping back here, behind the enemy lines,
and I want some radio boosters dug in here, and here, and here — here and
especially, here. Lieutenant, it seems no matter how we put the message out, we
are ignored.
LIEUTENANT:
Fine, Sir, I will deploy those orders immediately. (turns and
whispers into cell phone as GENERAL speaks to Himself)
GENERAL:
(speaking to Self) Even now, I can hardly give the Ultimate
Orders. If there was only some other way. I cannot bear to think of Him in such
danger, in such a humiliating circumstance — such unwarranted pain, such
disrespect.
LIEUTENANT:
(off the phone) Sir, I’m afraid I don’t understand, General. I just
received a report that the Commander of the Host has moved to the front lines.
GENERAL:
(taking deep breath) Yes, Lieutenant. Our Ultimate Plan is moving
into place.
LIEUTENANT:
(emotion building) With all respect, Sir, I request permission to
accompany the Commander.
GENERAL:
Your request is denied. The Commander must proceed unaccompanied.
LIEUTENANT:
(outraged, angry, but very respectful) ALONE! General, Sir! With
all respect, Sir, I would really like to be at my Commander’s side...
GENERAL:
(gripping LIEUTENANT’s shoulder, turning back to maps) You will
have to trust Us, Lieutenant. I appreciate your concern.
SERGEANT:
(rushing in, upset, near tears, bravely keeping respectful, waving
a sheet of paper) Sir! Sir! General, Sir! A report, Sir! Terrible news! Oh it
is terrible news, Sir! (salutes)
LIEUTENANT:
(returns salute) Calm yourself, Sergeant! Give me the report, and
tell the General your news!
SERGEANT:
The Commander of the Host has proceeded to the enemy lines! And He
is completely unprotected! The enemy is attacking Him, even now! We’ve
gotta...DO something!
LIEUTENANT:
(with direct military precision, spitting out orders) THIS IS
LUNACY! Assemble a full battalion of our toughest commandos, Sergeant! I will
lead them myself — I want full air support — round up all the agents in the
field and make it pronto soldier!
SERGEANT:
YES SIR! My pleasure, Sir! (turning to rush from room but is
interrupted by GENERAL)
GENERAL:
(calmly, gravely, quietly) Belay those orders, Sergeant! The
Commander of the Host must proceed alone.
LIEUTENANT/SERGEANT:
(in confused, upset chaos, breaking into incoherent babble, both
swarming about the GENERAL) SIR! There must be some mistake! Sir! This is too
much! We must support the Commander! Please reconsider, General! Sir, let us
help, please let us help, Sir! (LIEUTENANT/SERGEANT mix up lines)
GENERAL:
(raising hands — INSTANT silence, long pause) Some tough times are
ahead, my friends. Strengthen yourselves, and trust in Me. Trust in your
Commander. Brace yourselves for terrible things.
CORPORAL:
(rushing in, extremely upset, waving sheet of paper) General! Sir!
Terrible news, Sir! (saluting)
LIEUTENANT:
(returns salute, at the breaking point, losing temper) Now WHAT!? What
is your news, Corporal?
CORPORAL:
The Commander has been surrounded by the enemy, and He is not
wearing His armor! He is completely vulnerable! They are going to KILL Him!!!
LIEUTENANT/SERGEANT/CORPORAL:
(after a pause the CORPORAL joins in as well, pleading and
begging) We must DO SOMETHING! This is crazy! Oh, I’m going to die! Rally the
soldiers! To His side! Protect the Commander! To the Commander’s side! Save the
Commander! (mix up lines in terrific passionate babble)
GENERAL:
(slamming fist on table, and roaring) SILENCE! (they immediately
quiet, but are visibly anxious, fidgeting) Resolve yourselves, my faithful
soldiers. These will be some tough, terrible moments for you — but these are my
orders, as well as those of the Commander. Take hope, friends, because the
Commander IS wearing armor. You must trust me.
Corporal, what else is in your report? Anything concerning the
Commander’s activity in the field?
CORPORAL:
Sir! Yes SIR! The Commander seems to be constructing something. Sir,
He is building some form of — an excavation, or a TUNNEL — right in the heart
of enemy territory. Building it, all alone.
GENERAL:
Very well. Thank you, Corporal. There IS hope, then. We must have
peace. The price will be terrible. But we must have peace. Our Ultimate Plan is
on schedule.
(cell phone rings, LIEUTENANT answers)
LIEUTENANT:
(speaking into phone) Lieutenant Gabriel. Please report. WHAT!? (visibly
shaken, a growing horror, disbelief, the others wait with alarm, wringing
hands, pacing, shaking, only the GENERAL is calm, waiting, studying His hands
upon the maps) NO! That is IMPOSSIBLE! WHAT!? NOOOO!
SERGEANT/CORPORAL:
I CAN’T TAKE IT ANYMORE! What is happening! Tell us, PLEASE!
(speak together, in tears)
LIEUTENANT:
(closing cell phone, staring, turns blankly to others in state of
shock) The Commander has been wounded. He has almost completed the bridge to
our side. But He is not expected to survive...
SERGEANT:
(falling to knees before GENERAL, very emotional) PLEASE let me
go, Sir! I can be at His side in a moment, General, Sir! I NEED to go
GENERAL:
(placing hand upon SERGEANT’s head, very moved, choked with
emotion) I appreciate your devotion, my fine warriors. But...no. No. I am...so
sorry. But no
(all bow their heads, grim, brimming with emotion, grief — cell
phone rings)
LIEUTENANT:
Lieutenant Gabriel. Please report. Yes. (listening) Yes. Yes. (voice
softening, choking with emotion) I...understand. Yes. Thank you.
SERGEANT/CORPORAL:
(looking up, turning to LIEUTENANT with hope, reading his
expression, hope failing, drop their heads)
LIEUTENANT:
The bridge has been completed. (very long pause, fighting for
control of emotions) The Commander is dead. (very long pause, covers face with
hands, as does everyone) The Commander’s final report: “It is finished.” (lowers
head, weeping)
GENERAL:
(behind hands) It is finished. The tunnel is complete. And now,
finally peace. (drops hands from face, is bone weary, exhausted, bleary eyed,
weeping) My children may enter the tunnel, and be covered. We have purchased
peace, with the Commander’s blood. Now my children can reach me — we have
purchased peace...(long pause) with...my...SON’s...blood...
(long silence of shared misery and defeat)
LIEUTENANT:
(finally looking up) General? And our Commander?
Must He...remain...behind enemy lines?
GENERAL:
(looking up, smiling, wiping away tears) That is the Good News, my
friends. (he reaches and consoles each of them, patting backs, gripping
shoulders) For your Commander is the Firstfruits of all those who will cross
the tunnel. (they all respond with ecstatic smiles) Do you know what that
means, my friends? Yes, I see you do!
(with building joy)
My good, good friends, on the third day, HE SHALL RISE AGAIN.
(the group begins to exchange looks, building in excitement,
building in joy, clasping hands in a circle)
2.
To Prepare a Place
Scripture
Keys:
Let not
your heart be troubled: ye believe in God, believe also in me. In my Father's
house are many mansions: if it were not so, I would have told you. I go to
prepare a place for you. And if I go and prepare a place for you, I will
come again, and receive you unto myself; that where I am, there ye may be also.
John 14:1-3
Script Pointers:
This production can be wonderful with
an elderly person in the lead role (either male or female). Another splendid
touch is to have an actual son or daughter play the elderly person’s child;
however, as in most acting, the drama is nearly as powerful with skillful
actors, even a young person “playing old” in the role of the parent.
The “elderly parent” can either be in a
wheelchair, or employing either a walker or cane.
Always
Pray:
Pray before Practice, and pray before
Performance.
To
Prepare a Place
(onstage, elderly man with cane, wheelchair — the elderly man is
agitated, pacing, sometimes swinging his cane like a sword, ready to do battle —
something is up and the elderly man obviously wants nothing to do with it!)
Elderly MAN:
Who is going to put the tray outside, is what I want to know! This
is a ridiculous idea, it will never work! I’ve lived here for 10 years and
there’s no reason to change NOW!
(pauses before the wheelchair, scowls, threatens it with cane) They
can just take YOU...AWAY, you understand? My legs have worked for 85 — um, uh,
86, 87 — 88 years — oh, A WHOLE LOTTA YEARS! and there’s nothing wrong with
them NOW!
(pacing again) Lunatic, this idea, positively LUNATIC! The room’s
gotta be shipshape, that’s right, and I’m the man to do it!
(pauses near chair, will not look at it, slumps upon cane in
defeat) What is to become of me? What am I going to do?
I’ve worked hard, done my best, tried to take care of my family —
now what?
(loud, soul-felt cry) The UNKNOWN.
Young WOMAN:
(enters, and old man watches her approach suspiciously) Hey Pop! You
all ready?
Elderly MAN:
DON’T GO CALLIN’ ME POP! I didn’t say you could, and I don’t LIKE
it! The YOUTH of today, anyway — what happened to RESPECT, is what I’d like to
know!
Young WOMAN:
(after a surprised pause) It’s me, Pop! Your daughter — “Angel.”
Elderly MAN:
( moving up close, peering into her face) OH...Sure. I was...just
kidding. Angel. Well I guess YOU can call me “Pop.” But do you know what these
fools want to do? Do you know they’re kicking me out of this place? I’ve lived
here for 10 years — I came here with your Mom...this is where I had to say
good-bye to your Mother.
And they want — to — KICK — ME — OUT! Unbelievable. I have
responsibilities here. Things I gotta DO.
Young WOMAN:
Pop, it’s nothing personal. They’re tearing the building down. They’re
going to renovate this whole area — make it completely new. It’s going to be
all grassy parks, with trees and animals, a great place for children to play. And
tame animals to pet and play with!
You can even come back and visit, if you’d like!
Elderly MAN:
Well I don’t see what that has to do with me. There’s things to
take care of, you know. I clean the room — keep it “shipshape,” that’s what it
says on my weekly report. And the food trays — they’re going to pile up! The
food’s gonna start smelling bad...
Young WOMAN:
Pop! Don’t worry about those things...everything’s taken care of. You
have a beautiful room, I’ve seen it, I got it ready for you myself! Forget
about these trays and room reports and all that stuff. Everything is taken care
of. You don’t have to worry about this stuff any more, because it will be all
gone away.
Elderly MAN:
Now how do I know all that is true? I haven’t seen this place. I
don’t know WHERE it is or WHO is going to be bringing the food or HOW they want
me to keep the room — I don’t KNOW these people. I want to stay HERE!
I KNOW this place. It’s familiar. I’m used to it. Know the
schedule. All the stuff.
Young WOMAN:
Pop! You’re coming to my house — with Doug, and the kids. Your
room is right next to Harrison’s room, and if you can put up with his video
games, you’ll do fine. He’s excited about his grandpa coming to live with him —
he even rigged up one of those tin-can-and-string phone lines so you guys can
talk at night.
Your old cat Coco is still as mean as ever, and he’s already sleeping
at the foot of your bed. Somehow, I think he knows you’re coming home, and he
misses being petted all the time.
You’re going to be having dinner with us, you’ll have your own
bathroom, the church is only a mile away so we can all worship together on Sabbaths
and —
Elderly MAN:
Wait a second — wait a second! (adjusting hearing aid, stomping
close to her, putting his ear inches away from her mouth) You want to repeat
that? WHAT did you say?
Young WOMAN:
(laughing) POP! Which part didn’t you hear?
Elderly MAN:
WHERE AM I GOING? WHERE are you taking me? WHERE am I going to
live?
Young WOMAN:
(placing her arm about father’s shoulders) You’re coming to live
with us, Pop! I prepared a place for you — if it wasn’t so, don’t you think I
would have told you?
Elderly MAN:
WELL WHY DIDN’T YOU TELL ME!
(shakes off daughter’s arm and hurries to wheelchair, sits down)
Let’s get out of this place — and HURRY. This terrible old roof
could come down any second! Get me outta here!
Young WOMAN:
(laughing, massaging father’s shoulders) I’ll tell ya, Papa, you’ve
had a lot to worry about the last few days. A lot of trouble in this old place.
But you don’t have anything to worry about, anymore. (begins pushing the chair
down the aisle)
Elderly MAN:
Uh, Daughter, you sure about this? It’s not a trick or anything? I
mean, you haven’t made a mistake?
Young WOMAN:
(laughing, patting elderly man on shoulder) No, Pop, no trick! No
mistake! Your worries are behind you. I’ve prepared a place for you, and where
I am, there you will be also (exiting, down aisle)
Welcome home, Papa! Welcome home!
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