Wednesday Liturgy: Follow-up: Dramatic Readings at Mass
ROME, JUNE 28, 2005 (Zenit.org).- Answered by Father Edward McNamara, professor of liturgy at the Regina Apostolorum Pontifical University.
Our piece on dramatizing the readings (June 14) brought in some interesting annotations.
An English-speaking priest writing from Belgium offered the following valuable suggestion based on experience:
"When teaching lectors and seminarians, I have found it useful to tell them to think of themselves as 'being on the radio' rather than 'performing on TV.' This causes them to think how best to use their voice to proclaim the Word of the Lord, undistracted by 'looking at the congregation, facial movements, gestures, etc. This approach allows the reader to take account of the listeners, making as clear as possible the sense of the text in front of them -- when God is speaking via their mouth. It also allows them to realize that the 'spoken Word' they speak is God's Word alive and so the most important thing. It also avoids the temptation to 'dramatize the text.'"
Another priest, hailing from Australia, asked: "Is there a special case for the reading of the Passion on Palm/Passion Sunday and on Good Friday? The lectionary approved for use in Australia has the parts marked for various readers. Is this not dramatic reading? Is it permissible?"
In a sense the reading of the Passion on Palm Sunday and Good Friday are exceptions that allow for certain dramatic elements while still falling far short of acting. The readers or cantors retain the traditional sobriety of the rite and avoid facial expressions and gestures.
These readings may be rendered using three readers, or cantors, each taking the part of specific characters. One reader takes the role of narrator, another, usually the priest, speaks the words of Our Lord, and another all of the other characters.
In some cases a choir or even the assembly may be added to undertake the part of the multitude or when several Gospel characters speak at once.
The "dramatic" and spiritual effect on the assembly when it is they, and not just a reader, who cry out "Crucify him" can be quite moving and might bring out more clearly the responsibility of each one's personal sinfulness for our Lord's Passion.
At the Vatican, the Passion on Palm Sunday has been sung, for several years now, in Italian, by three deacons and a choir. The deacons maintain a sober tone although with slight variations for each personage. The choir sings the part of the multitude in polyphony.
On Good Friday the same process is followed but using the traditional Latin chants with the Sistine Choir doing the solemn polyphony. In both cases the Passion lasts about 50 minutes.
This system of dividing up the readings into parts is also sometimes allowed for Masses with children if such a process facilitates comprehension (see No. 47 of the Directory for Masses with Children).
Our piece on dramatizing the readings (June 14) brought in some interesting annotations.
An English-speaking priest writing from Belgium offered the following valuable suggestion based on experience:
"When teaching lectors and seminarians, I have found it useful to tell them to think of themselves as 'being on the radio' rather than 'performing on TV.' This causes them to think how best to use their voice to proclaim the Word of the Lord, undistracted by 'looking at the congregation, facial movements, gestures, etc. This approach allows the reader to take account of the listeners, making as clear as possible the sense of the text in front of them -- when God is speaking via their mouth. It also allows them to realize that the 'spoken Word' they speak is God's Word alive and so the most important thing. It also avoids the temptation to 'dramatize the text.'"
Another priest, hailing from Australia, asked: "Is there a special case for the reading of the Passion on Palm/Passion Sunday and on Good Friday? The lectionary approved for use in Australia has the parts marked for various readers. Is this not dramatic reading? Is it permissible?"
In a sense the reading of the Passion on Palm Sunday and Good Friday are exceptions that allow for certain dramatic elements while still falling far short of acting. The readers or cantors retain the traditional sobriety of the rite and avoid facial expressions and gestures.
These readings may be rendered using three readers, or cantors, each taking the part of specific characters. One reader takes the role of narrator, another, usually the priest, speaks the words of Our Lord, and another all of the other characters.
In some cases a choir or even the assembly may be added to undertake the part of the multitude or when several Gospel characters speak at once.
The "dramatic" and spiritual effect on the assembly when it is they, and not just a reader, who cry out "Crucify him" can be quite moving and might bring out more clearly the responsibility of each one's personal sinfulness for our Lord's Passion.
At the Vatican, the Passion on Palm Sunday has been sung, for several years now, in Italian, by three deacons and a choir. The deacons maintain a sober tone although with slight variations for each personage. The choir sings the part of the multitude in polyphony.
On Good Friday the same process is followed but using the traditional Latin chants with the Sistine Choir doing the solemn polyphony. In both cases the Passion lasts about 50 minutes.
This system of dividing up the readings into parts is also sometimes allowed for Masses with children if such a process facilitates comprehension (see No. 47 of the Directory for Masses with Children).
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