University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 What Is Theatre's Role As A Worship Tool In A Messianic Synagogue? Jennifer Pedraza University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Pedraza, Jennifer, "What Is Theatre's Role As A Worship Tool In A Messianic Synagogue?" (2007). Electronic Theses and Dissertations, 2004-2019. 3296. https://stars.library.ucf.edu/etd/3296 WHAT IS THEATRE’S ROLE AS A WORSHIP TOOL IN A MESSIANIC JEWISH SYNAGOGUE? by JENNIFER ELIZABETH PEDRAZA B.F.A. Shenandoah University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre for Young Audiences in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ©2007 Jennifer Pedraza ii ABSTRACT In this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored “What is theatre’s role as a worship tool in a Messianic Jewish Synagogue?” My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship tool, from script development to theatrical presentation. I hypothesized that theatre could be used as a worship tool if both the attitude of the artists is one of worship and the artists strive for excellence because it is ultimately for God. I furthermore hypothesized that worshipping throughout the process by way of the group’s teamwork, attitude, and quality of work would be an integral part of producing a successful product. I sought to discover specifically what theatre as a worship tool looks like in the context of a Messianic Synagogue and what practices I glean from models of Christian drama ministries and what practices emerge from my process that are unique to Messianic theatre when used as a worship tool. How can I infuse my spiritual foundation with my artistic training? The majority of this project focused on the process of creating the play, from writing the script to dress rehearsals. The ensemble met weekly to explore the themes of the biblical story of Esther, brainstormed ideas for our adaptation, developed a script, and executed production aspects such as acting and design elements. Simultaneously, I kept a rehearsal journal with reflections on each lesson and the process as a whole. I completed research on contemporary theories and practices of Christian theatre artists in order to compare and contrast different approaches to faith-based theatre; these approaches are described in this thesis and conclusions iii are made as to how this research can be applied to my study. At the end of the presentation, I conducted interviews with members of the ensemble and the leaders of the congregation to receive feedback about the process, final presentation, and their perception of how theatre may be used as a worship tool. In this thesis, I write about the experience as a whole, evaluating our ability to use theatre as a worship tool for this specific presentation. I then process the implications this project has for future Messianic Jewish theatre, as well as the project’s impact on my growth as a theatre artist. My final conclusions based on this experience are that theatre’s role as a worship tool is to create an atmosphere where people are comfortable worshipping. Furthermore, the process of creating the play helped the youth and I discover how to be effective “ministers” and artists that create an atmosphere of worship. Based on my research, I posit that theatre can play many “roles” in the context of a Messianic synagogue: a bypass, sandpaper, or light, to name a few. Finally, artists and places of worship have something to contribute to one another, but both parties must move forward with the understanding that the Scripture provides a theological framework from which to base artistic choices and that artists need to develop their own specific approach to theatre while suiting the mission, vision, and values of the host congregation. iv ACKNOWLEDGMENTS The first acknowledgment goes to my Creator, the first and greatest Artist. May this thesis be a sweet-smelling aroma offered up to You. I applaud the Ayts Chayim Youth Group members who labored with me on this project. Without your participation, I would have nothing. I thank you for every moment of our process, for we shared something during this journey that left me forever changed. I hope you feel likewise. My heartfelt gratitude goes out to the congregational leaders and members of Ayts Chayim Messianic Synagogue. Thanks to Rabbi Ira and Gloria Brawer for making a place for theatre at Ayts Chayim. Thanks for your wise counsel and for letting us discover the way that we should go. I esteem Jesse and Janneth Hutcher, the Youth Group leaders who loaned me their “kids.” I owe you a huge debt, as you taught me the importance of building relationships. An additional thanks to you for building the set pieces and running stage crew—your behind-the- scenes service did not go unrecognized. I commend my co-laborers, Jeff and Evelyn Richman, who provided support, encouragement, and their garage. Thank you for sharing this process with me, and I look forward to working with you again. Thanks to Nathaniel Binger, Essin Davis, Jordan Sanford, and Isaac Uchiyama for help with additional production duties. I gratefully acknowledge Dr. Megan Alrutz, who served as Committee Chairperson for this thesis. Thank you for your wonderful insights and thought-provoking challenges. Thanks are also due to the rest of my committee, composed of Dr. Julia Listengarten and Vanduyn Wood. Your service is very much appreciated. Finally, I thank my husband, David Pedraza, for endless support and encouragement. v TABLE OF CONTENTS TABLE OF CONTENTS............................................................................................................... vi LIST5 OF FIGURES .....................................................................................................................viii CHAPTER6 ONE: INTRODUCTION............................................................................................. 1 The2 Overarching Question.......................................................................................................... 3 Definition2 of “Worship Tool”..................................................................................................... 4 5Worship................................................................................................................................... 4 Tool.........................................................................................................................................5 8 Should2 Theatre Be Used as a Worship Tool? ........................................................................... 10 Herbert6 Sennett’s Utilitarian View ....................................................................................... 10 Franky6 Schaeffer’s and Steve Turner’s Non-Specific View................................................. 12 Messianic2 Judaism .................................................................................................................... 18 Definition6 .............................................................................................................................. 18 Messianic6 Jewish Theatre ..................................................................................................... 19 Ayts6 Chayim Messianic Synagogue ..................................................................................... 22 ACMS6 Youth Group............................................................................................................. 24 CHAPTER TWO: THE PROCESS.............................................................................................. 26 Conceptualization2 ..................................................................................................................... 26 A3 Turning Point ........................................................................................................................ 30 Is6 It Rehearsal or Class?........................................................................................................ 30 Starting6 Again ....................................................................................................................... 34 Script3 Development .................................................................................................................. 36 Reading6 and Responding to the Biblical Text ...................................................................... 36 Target6 Audience.................................................................................................................... 37 Stylistic7 Approach................................................................................................................. 38