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.

Dr. Stern's current research focuses on the transmission and reception of biblical texts in early Jewish settings. She is particularly interested in the ways in which the torah that is transmitted by rabbis and teachers, and received by Jewish audiences, is and always has been far more expansive and variegated than the written texts themselves.

My interest in performance criticism has developed at the intersection of a prior specialization in literary approaches to the Hebrew Bible, a knack for verbatim performance of biblical stories (in English and sometimes in Hebrew), a fascination with "difficult" stories, and a strong desire to get students (and others who interact with the Bible) to respond humanly to it rather than retreating into the extraction of "lessons."  I have been involved with the Network of Biblical Storytellers' Seminar group from its inception, and to a lesser extent with the BAMM group.  At the moment, I am especially interested in how the "authority" of the Bible changes character when stories are told informally in communal settings (which allow accenting according to group histories and inside jokes, and open reaction and response) rather than told "at" an audience in formal settings where there is a clear distinction between performer and audience.  Although I often do verbatim biblical storytelling, I find myself increasingly balancing it with ancient and modern midrashim that give neglected characters voice and that challenge commonly accepted interpretations (do we REALLY admire Abraham's willingness to sacrifice his son?).