The Stage – I. Action, Reaction
The Stage – Action and Reaction
Behaviour and action, + reaction of the audience
pre
A very large percentage of Christian communities are made up of active leaders and passive listeners.
Of course, the church leaders see this too, so they try to "mend" it. They set up projects ranging from social work via food banks to a building/church/temple construction. They set up activities having a desire: building a good community.
These are 2000 years old church activities, triggering the "filia" or the "storge". Which is nice - but it is not the "agape-love" mentioned by the apostles.
"give and it will be given" (Lk 6:38-39), most of the time without even touching the possibilities given by divine life: sharing the good news by the incarnate word /message in us.
Of course, the church leaders see this too, so they try to "mend" it. They set up projects ranging from social work via food banks to a building/church/temple construction. They set up activities having a desire: building a good community.
These are 2000 years old church activities, triggering the "filia" or the "storge". Which is nice - but it is not the "agape-love" mentioned by the apostles.
The 1st part of this booklet talks about the Stage and its modern influences including the virtual marketplace and the human reactions.
The 2nd chapter gives a New Testament analysis, the etymological biblical meaning of the truth and of the Word of Gd when we can see the important differences between the Hebrew Devar and Greek Logos. (The latter has a much narrower meaning today)
The 2nd chapter gives a New Testament analysis, the etymological biblical meaning of the truth and of the Word of Gd when we can see the important differences between the Hebrew Devar and Greek Logos. (The latter has a much narrower meaning today)
Message in bodily form
The Church would have amazing resources if she did not want to meet the challenges of modern media. The model itself should be taken from the model taught by the Lord Jesus. Let us focus on the Lord. Lets start now!
But traditional communities often turn inwards, trying to create a kind of sacred environment, focusing on their own actions, actively praying for them. {Dr Martyn Lloyd-Jones has wise thoughts here} Thus they do not "learn"the New Testament priesthood model of Jesus, Who is actually the High High Priest, giving the right authentic priestly example and identity. Jesus the suffering Messiah & High Priest, Firstborn Son has established the practice of spiritual growth, faith, devotion and perseverance in the world. He gave model to the twelve and they gave us detailed teachings.
But traditional communities often turn inwards, trying to create a kind of sacred environment, focusing on their own actions, actively praying for them. {Dr Martyn Lloyd-Jones has wise thoughts here} Thus they do not "learn"
This material and earthly church situation is not helped by the fact that the leadership consist of devoted persons. Yes, the leaders have the responsibility and have real efforts and wish: to be multiplied or making disciples. The leadership sometimes does real missionary work by proclaiming the gospel,... while the members of the community are sitting, being served as "receivers", {practically, as consumers} and the situation remains as it was.
This is rooted, partially in the consumerism and the helper syndrome. The former more or less has permeated the church members, the latter caused burnout and heartless life – or dried out the leadership. Every pastor must fight with them in this age.
Growth and Fruits
Humanity is unimaginable without growth.
People simply cannot grow up and learn and work without practice and cannot learn with/by the Holy Spirit without his co-operative way. It's also true that we, humans must grow up by heavenly grace, free from sin, chains. Mainly because our life: our works, tries, bring mistakes and faults in this broken World.
But we have focus on the Kingdom. Since the Spirit has been called us to missionary work according to the Great Calling: the Great Comission, it is mainly the Spirit's help which gives us insight. If we walk according to the calling. My personal experience in the mission that the biggest effort has little fruit without the movement of the Holy Spirit. We all have mission - and mission depends on the Spirit's actions. Sadly, lot of Christian community filters out the devoted characters, "sending them" to the mission field. Who will practice the kingdom wisdom? The selfless and devoted "missionary" people who come to know Him, via co-working. Others will live their childhood - forever.
First, because preaching is not teaching. { but this is another issue}
Now let's grab a corner of the problem and give it a good shake. We will see in the next example what the stage is actively doing, how it behaves and what reactions it provokes, how it affected the viewers - in the music history.We have a case study* for the better understanding by Viktor L.F. Szabo.
But we have focus on the Kingdom. Since the Spirit has been called us to missionary work according to the Great Calling: the Great Comission, it is mainly the Spirit's help which gives us insight. If we walk according to the calling. My personal experience in the mission that the biggest effort has little fruit without the movement of the Holy Spirit. We all have mission - and mission depends on the Spirit's actions. Sadly, lot of Christian community filters out the devoted characters, "sending them" to the mission field. Who will practice the kingdom wisdom? The selfless and devoted "missionary" people who come to know Him, via co-working. Others will live their childhood - forever.
First, because preaching is not teaching. { but this is another issue}
Now let's grab a corner of the problem and give it a good shake. We will see in the next example what the stage is actively doing, how it behaves and what reactions it provokes, how it affected the viewers - in the music history.
The classic example of the stage
This weird looking chap in the picture is the French composer, (Eric) Erik Satie who is a little name in the music history but gave huge gifts to the XX century and post-modern composer generation...
Satie was a kinda "musical innovator". Like T. A. Edison famous faulty experiments, Satie's "newbees" weren't always successful.
Satie wanted to introduce an utilitarian form of the music, called "furniture music". Let's not forget, at that time gramophones were not common and background music on the radio was a gift of a later generation. The first baby-steps of the Cinematography was a success but the "mute" period of movies brought only a special on-stage music, an improvisation technique on the piano - as a background.
If we would like to understand the effect ofthe stage, the one-way information and the noise, Satie's case gives us a great clue and schiffre.
Satie was a kinda "musical innovator". Like T. A. Edison famous faulty experiments, Satie's "newbees" weren't always successful.
Satie wanted to introduce an utilitarian form of the music, called "furniture music". Let's not forget, at that time gramophones were not common and background music on the radio was a gift of a later generation. The first baby-steps of the Cinematography was a success but the "mute" period of movies brought only a special on-stage music, an improvisation technique on the piano - as a background.
If we would like to understand the effect of
The study* explains:
Of course, French composer Erik Satie(..) didn’t just “want” to
compose musique d’ameublement (“furnishing music,” or, as it’s more commonly translated, furniture music),
but did in fact compose four such pieces between 1917 and 1923. None of these pieces, however, ever actually mingled with the sounds of silverware; {being a background}...
According to the 1952 memoir of artist Fernand Léger:
According to the 1952 memoir of artist Fernand Léger:
We were having lunch, Satie and some friends, in a restaurant. The music was so loud we simply couldn’t stand it and left. But Satie said:
‘Even so, there’s room for a ‘musique d’ameublement,’ that’s to say, music which would be part of the noises around it and would take account of them. I think of it as being tuneful, softening the noise of knives and forks without overpowering them or making itself obtrusive. It would fill in the silences which can sometimes weigh heavy between table companions. It would banish the need to make banal conversation. At the same time it would neutralise street noises, which can be tactless in their behaviour.’ It would, he said, be responding to a need. ...
‘Even so, there’s room for a ‘musique d’ameublement,’ that’s to say, music which would be part of the noises around it and would take account of them. I think of it as being tuneful, softening the noise of knives and forks without overpowering them or making itself obtrusive. It would fill in the silences which can sometimes weigh heavy between table companions. It would banish the need to make banal conversation. At the same time it would neutralise street noises, which can be tactless in their behaviour.’ It would, he said, be responding to a need. ...
The Experiment
Two of Satie’s Musiques d’ameublement finally received a premiere in March
1920 at the Galerie Barbazages in Paris. Like the preludes for Le Fils, Satie unleashed his pieces of furniture music —Chez un ‘bistrot’ (At a “Bistro”) and Un Salon (A Drawing Room) —between the acts of a play, this time Max Jacob’s Ruffian toujours, truand jamais.
Satie had composed the pieces with the aid of (Darius) Milhaud, who also helped organise their premiere performance. The pair positioned the musicians —two pianists, three clarinetists, and the trombonist— in different corners of the gallery, so that the music would come from all sides at once.
Before the performance, organizer Pierre Bertin invited the audience members to stroll around, chat, and look at the exhibition of children’s art while Satie’s music played. “We beg you to take no notice of [the music],” he told the audience, “and to behave during the entr’actes as if it did not exist.”
Satie had composed the pieces with the aid of (Darius) Milhaud, who also helped organise their premiere performance. The pair positioned the musicians —two pianists, three clarinetists, and the trombonist— in different corners of the gallery, so that the music would come from all sides at once.
Before the performance, organizer Pierre Bertin invited the audience members to stroll around, chat, and look at the exhibition of children’s art while Satie’s music played. “We beg you to take no notice of [the music],” he told the audience, “and to behave during the entr’actes as if it did not exist.”
And the Failure
Yet much to Satie’s dismay, the audience, accustomed to respectfully paying heed to musical performances, sat and listened, despite Satie and Milhaud’s protests (“Go on talking! Walk about! Don’t listen!” Satie purportedly yelled).
The audience regarded the whole thing an amusing charade. Satie considered the performance a failure.
The audience regarded the whole thing an amusing charade. Satie considered the performance a failure.
Citation ends here. And in the age of the TED talks and sophisticated preachers we must be really concerned about the expectation of the audience ...
.. says the study.*
the one way communication, the speaker – audience chemistry and the media-educated society.
And now, when the world has adeptly invented {or copied} the term: Evangelist in the commercial spheres, we, the Church must be pretty sure thatthe scenic forms and the one-way "communication" don't work and don't represent, won't represent the serving Lord and the serving priesthood. Anymore.
The latter, the image of the Christian priesthood has already been deeply corrupted by its modern practices: through the example of Catholicism, or "courtesy" of Eastern Orthodoxy or the sexual / gender policies of the Church of England.. to name a few – not to mention the numerous, utterly money oriented, utilitarian and existentialist mega churches or sekts.
And now, when the world has adeptly invented {or copied} the term: Evangelist in the commercial spheres, we, the Church must be pretty sure that
The latter, the image of the Christian priesthood has already been deeply corrupted by its modern practices: through the example of Catholicism, or "courtesy" of Eastern Orthodoxy or the sexual / gender policies of the Church of England.. to name a few – not to mention the numerous, utterly money oriented, utilitarian and existentialist mega churches or sekts.
Became flesh - Thea Heavenly Role Model
Description:
In the next part we will see some pro active way for the solution. Not giving the "full answer" but contributing a part of the whole picture... Gd has a Role model and an ID for the faithful.
In the next part we will see some pro active way for the solution. Not giving the "full answer" but contributing a part of the whole picture... Gd has a Role model and an ID for the faithful.
i - ii
*Study: Victor L. F. Szabó: "Ambient Music as Popular Genre", Uni. of Virginia, 2015
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