Performance Studies, Theory of Performance, Performance Criticism of Pauline Letters, Ritual

I belong to an oral culture so performance can be a real tool to change the understanding of the Bible in the churches. I want to use this emerging discipline to emplement the concept of reconciliation within my culture.

Peter studies historical rhetoric, especially in regards to emotion, arrangement, memorization, and delivery. He performs Genesis 1:1-2:4a, the Sermon on the Mount, and the book of Revelation

I intend to interact with performance criticism in my MTh dissertation over the coming year (2013-2014)

Note: I have a visual impairment and will get help to complete this section this coming week.

I am mostly interested in performance for contemporary audiences and in the edition of the Greek New Testament as a base text for performance in the vernacular.

Recently, Dr. Rhoads presented a workshop on preaching the Gospel of Mark Monday, Nov. 10 at the McCormick Seminary's first annual Brawley Lectures.  He focused on the experience of the Gospel as an aural event; talking about the power of the Scripture performed, leading participants in some memorization and performance of the gospel themselves and even treating the audience to his own performance of the first 15 minutes of the gospel.

Need to keep abreast of scholarly thoughts on the subject.  Such information will improve the workshops and lectures I give on how biblical stories should be researched, expressed from the heart and taught. 

NT studies, especially Gospel of Mark; performance of NT compositions; Performance Criticism and elements of such interpretation, Performance as a pedagogical strategy, ethical issues in Performance.

Bernard Scott has written or co-written nine books, including the widely read Hear Then the Parables (Minneapolis: Augsburg Fortress Press, 1989), Re-Imagining the World: An Introduction to the Parables of Jesus (Santa Rosa: Polebridge Press, 2001), Hollywood Dreams and Biblical Stories (Minneapolis: Augsburg Fortress, 1994), and Reading New Testament Greek (Peabody, MA: Hendrickson, 1993), co-authored with his former PTS students Margaret Dean, Kristen Sparks, and Francis LaZar. Among his current projects is a study of sound mapping, focusing on sound as the communication environment of the ancient world.

60s/70s art school background. exposure to performance art. exposure to other cultures. Recent Grad degree from Fuller. Interest in artists/artisans as unacknowledged and under resourced theologians for a 21st Century facing three major shifts

a: back to a secondary oral/visual culture

b:large scale attrition from  the `Christendom' print model (or print logic) approach to Christian description.

C: Growth of the majority world church. most of the Christians, artists, theologians and bible interpreters now live somewhere else....many (but not stereotypically so) in parts of the world (albeit urbanized, often..)where `oral/scribal' distinctions, art/life distinctions (etc) are configured differently than we might remember them.....

I am a sometime teacher of NT, whose main interest was gospel narrative, especially Mark.

In semi-retirement, I remain engaged in the interpretation and presentation of Mark as a dramatic performance narrative.

I am a pastor. The Bible is our script. It needs to be performed. I've performed the passion narratives of Mark, Luke and Jonah. I have a performed version of Jonah on YouTube I hope to improve as a performer up to my last breath. My interpretation is that Jesus is the living Word, the One who teaches us how to read and perform the Bible

Oral delivery, performance, memory, ancient rhetoric, formation of communities

Since 2013 I have performed in churches as "Enock the Shepherd" with various biblical scenarios.  I am interested in discussing a variety of issues surrounding creativity, drama, interiorization, allegiance to the biblical text, and delivery.

I also as a member of the Network of Biblical Storytellers, have a great interest in enhancing the public performance/telling of scripture.

Its intersections with orality theories within NT criticism.