Precaution To Be Taken In Conversation In Drama Presentation On Stage!

 Precautions To Be Taken In Conversation In Drama Presentation On Stage!

There is a well-defined preconception against the importation of anything dramatic into the pulpit. The art of the actor is fundamentally diverse from the work of the preacher. At the nicest, the actor characterizes imitates, pretends, and acts. The actor looks like; the preacher.

It is to be feared, regardless, that this predisposition has lessened many preachers down to a pulpit style just devoid of feeling and action. In their endeavour to ignore the dramatic and spectacular, they have purified and repressed many of their most natural and helpful means of articulation. The task of preaching is not only to impart, but to convince, and convincing demands something more than a simple conversational style, a diligent statement of realities, or the reading of a written message. The speaker must demonstrate in the face, in the eye, they are the arm, in the whole playful man, that he, himself, is dragged before he can hope successfully to attract and motivate others.

The modified actions of normal conversation don't fulfil all the necessities of the preacher. These are vital and ample for the groundwork of the oration, but for the ultimate heights of the passionate offer, when the soul of the preacher would, as it were, leap from its body in the endeavour to catch men, there must be magnified life and effort in relation-building of dramatic action. but it is hard to develop such a tremendous tribute to win the heart of the public. 

The power of action alone is vividly clarified in the touch of the finger to the lips to gather silence, or the pointing to the door to order one to quit the room. The preacher might always get at it advantageous to stand before a mirror and perform his speech thoroughly in mimic to check its power and potency. The body must be disciplined and promoted as assiduously as the other mechanisms of the speaker. There is the articulateness of behaviour and action no less than the articulateness of voice and feeling. A preacher bringing himself up to his full height, with an important gesture of the head, or with a flashing eye focussing the finger of telling at his hearers, may inspire them from indifference when all other means fail.

Sixty years ago the Reverend William Russell emphasized the significance of visible expression. He asserted of the preacher: His outer manner, in attitude and action, will be as mixed as his voice: he'll evince the enthusiasm of proper feeling in the very posture of his body; in pronouncing the language of fondness, the slow-moving, uplifted hand will bespeak the amazement and seriousness which permeate his soul; in welcoming his fellow men in the spirit of a representative of suprem soul, the soft yet devoted spirit of effective action will be evinced in the pleading hand and thing; he will understand, too, how to enact to the simple and traditional mien of the reproved of sin; he will, on due occasions, imply, in his lighting look, the rousing signal, the personality of him who is empowered and commanded to solicit ahead all the energies of the human soul; his controlled and chastened address will bring the kindness of his spirit into the bosom of the mourner; his moistening eye and his generous action will personify his warmth for the suffering: his whole soul will, in a word, become readable in his forms, in his attitude, in the expressive eloquence of his hand; his entire style will be felt to be that of heart connecting with heart.

Dramatic action delivers picturesqueness to the spoken word. It prepares things colourful to slow imaginations, and by contrast, invests the speaker's message with new meaning and strength. It discloses, too, the speaker's compassion and designation with his subject. His thought and feelings, communicating themselves to voice and face, to hand and arm, to posture and walk, convince and impress the hearer with a sense of satisfactoriness and fullness.

A sensible preacher will ignore the monster and the peaks of mere animal vivacity. Continual gesture and action, excessive giving emphasis with hand and head, and all ideas of self-sufficiency in attitude or manner should be protected against. All the numerous mechanisms of expression should be given rise to ready and responsive for sudden use, but are to be employed with that taste and tact that illustrate the well-balanced man. Too much action and long-continued emotional effort fall force, and unless the law of action and response pertains to the preaching of the sermon the involvement of the group may take a picture and the desired impact be utterly demolished.

The face as the mirror of the emotions is a significant part of the expression. The lips will inform determination, pain, kindness, appreciation, or another sentiment on the part of the speaker. The eyes, the most natural medium of psychic power, will twinkle in indignation, glisten in joy, or evolve dim in sorrow. The brow will be raised in surprise or lowered in determination and confusion.

The effectiveness of the whisper in preaching should not be ignored.  If secretly utilized it may serve to influence the hearer with the deepness and sincerity of the preacher's message or to catch and bring back to the point of touching the wandering minds of a gathering.

To develop emotional power and dramatic action the preacher should scan the great dramatists. He should browse them audibly with rightful voice and movement. He should study children, men, and nature. He should, maybe, discover the biggest actors, not to copy them, but so that they may boost his flavour and originality.