DRAMA
and
the
SEVENTH-DAY ADVENTIST CHURCH
Appendix
31 - A
Surprising Facts About Drama and the Church
Gleaner editorial, September, 2000
(WITHOUT
GRAPHICS)
P.32
. GLEANER. SEPTEMBER 2000
SURPRISING
FACTS ABOUT DRAMA AND THE CHURCH--
During
the past 50 years drama has invaded nearly every home in America through
television and video.
So
sordid is some of its programing, that sincere Christians often are tempted to
dismiss drama entirely as a method of illustrating the gospel.
A
survey of early Adventist writings seems to lend creditbility to that view.
Ellen White clearly condemns "sensational dramas" that "engross
the mind," 1 and are "dangerous resorts of pleasure."2 But as I
researched her comments, I noticed that she carefully qualifies her warnings.
She counsels' against sensational drama, habitual attendance (italics mine),
dramas that contain "low songs; lewd gestures, expressions and
attitudes" that "deprave the imagination and debase the morals."
3
All
drama is by no means sensational or demeaning, and her counsels acknowledge as much.
Although rightly condemning certain aspects found in . some dramatic
productions, she n_yer condemns the dramatic arts themselves. In an 1881
"Review and Herald" article, she uses the illustration of a young
woman who placed her wish to be an actress before her desire for salvation. She
condemns the behavior' because of the young woman's priorities, not for her wish
to .become an actress. 4. .
At
another time, she recalls a humorous,
but thought-provoking comment made by Thomas Betterton, a celebrated actor of
the time, to the Archbishop of Canterbury. In it, Betterton suggested that one
difference between an actor and a minister seems to be the lack of enthusiasm of
the latter. 5..
Ellen
White also speaks of the "drama of life," 6 and describes the Church
as the theater of God's grace. 7 If such words as "drama" and
"theater" always held a bad connotation in her mind, it . seems unlikely
she would have used them to illustrate important concepts such as God's grace. '
During
the Christmas season of 1888, the Battle Creek Sabbath school staged a dramatic
production. Ellen White attended' to watch her granddaughter, Ella, take part
The production included spoken lines, sets, costumes, and props.
Early
the next morning, Ellen White wrote a letter to the director, commenting that
the children's lines were appropriate and commending the effort put forth. She
then made several specific suggestions on how to improve the production. Such
behavior seems a far cry from total condemnation of dramatic productions. 8
Arthur
L. White, her grandson, agrees. As secretary of the Ellen G. White Estate in
1963, he writes: "A survey of these counsels (pertaining to drama) fails'
to reveal an across the board condemnation of all enacted programs. In other
words, Ellen White does not condemn a program just because it is
dramatized." 9
He
suggests that the question of drama in Seventh-day Adventist institutions
cannot be answered by either total acceptance or rejection of dramatic
productiol1S. 10 He points out that a production dedicated to God's service
could be an effective agent. 11 Still, he warns that the improper use of drama
might force even the correct use of the medium to be halted, for safety's sake.
12
In
1975, a General Conference Special Committee on drama' and its relationship
to' the Adventist Christian agreed with both Ellen and Arthur White:. "The
vehicle of drama is in itself of neutral quality. The communicated content, ,the
life or' the actor, and the theatrics of a production define its character. If
the theme is morally positive and the treatment simple, the valuable lesson
can be taught in an impressive manner." 13
This
Special Committee, although aware of the problems involved' with drama, still advocated
its use for effective communication, education, and recreation in Adventist
surroundings. 14
Many
moral and ethical questions regarding drama and the Christian remain to be
answered. Ellen White never dealt with them specifically, but they deserve thoughtful
consideration. 15
"LOST"
IN A CHARACTER-
In
order to perform well, do actors have to 'lose' themselves in the Character
they're playing?.
Acting
is hard work, and it is the actor's job to present a Character in a belivable
way for the audience, which means the actor must understand the person he plays.
This
is easier for some types of Characters than for others. Generally, however,
actors try to find within themselves something they can use to relate to the
characters they play. In a very real sense, actors are playing parts of
themselves, even when they pretend to be other people.,'
"Losing"
oneself in the part is not an accurate description of what happens, but it may
seem that way to observers, and it is something that actors should consider
whenever they take up a role.
IN
CHURCH?
Should
drama be, presented in the church.? That depends on the production. It's
interesting that in the Old Testament tabernacle, every liturgical act by the
priests was a symbolic representation —a dramatization—of Christ's saving
grace. Since a, church is a place specifically built for the worship of God,
only drama that fulfills this requirement should be presented in church.
Dramatic productions can be enormously beneficial in this regard.
TOO
MUCH TIME?
How
can anyone justify the time spent with drama, particularly secular
presentations? Secular themes can be immensely powerful advocates for moral,
ethical, and social goals. We are still living in the world, even as we struggle
against becoming part of it, To ignore the secular needs of the people about us
runs counter to our mission to spread the Gospel. In some ways, there are no
strictly secular themes or presentations. When we fight evil in any form, we are
doing God's work. Can we overdo it? Get too involved? Yes. But drama is no more
guilty of causing imbalance than any of thousands of things that tempt us each
day.
FOR
SAFETY SAKE ELIMINATE?
But
wouldn't it be safer to eliminate dramatic productions? Safer is not better.
Following Christ is not safe or comfortable. The "safe" path leads
to stagnation. Discarding dangerous things simply because they are dangerous
invokes an even greater Laodician danger.
Ellen
White, in her letter to .the producer of the Christmas play, provides the
standard which, everyone involved with the dramatic arts should
prayerfully consider: "Will it make those who acted their part in it more
spiritually minded? Will ,it increase their sense of obligation, to our heavenly
Father who sent His Son into the world at such an infinite sacrifice to save the
fallen man from utter ruin? Was the mind awakened to grasp God because of His
great love wherewith He has loved us?"
Rightly
used, drama is a powerful agency to illustrate grace and !Counteract evil. As
Christians, we should harness its power and employ it carefully, but
assertively, to the glory of God.
Edwin
A. Schwisow drafted this article, based on research by Kenneth Field, a freelance
writer living in Sequim, Wash. His book, "Return Voyage," was recently
published
by Pacific Press Publishing Association.
Appendix
31-B
Letters
published on above article-
Dramatic
Balance
Thank-you
for the balanced article, "Surprising Facts About Drama and the
Church," in the September 2000 GLEANER. The conclusions were appropriate
and balanced. Yes, drama has the potential for misuse, but so does love, so does
law, so does organization, so does music, so does well -so does everything.
Just because the extreme can be criticized does not mean that moderation should
not be practiced. Thank-you for your courage in writing and publishing this
article.
Ron
Hessel Payette, Idaho
Respectfully
Disagree
In
"Surprising Facts About Drama And the Church" in the September 2000
GLEANER, I respectfully disagree with your conclusion that "Rightly used,
drama is a powerful agency to illustrate grace and counteract evil." There
are scores of quotes in Ellen White's writings that condemn drama unequivocally,
but you have selectively and strategically highlighted snippets of her writings
and used them out of context. For example, regarding the Christmas play you
referred to, she wrote, "I should have felt better if I had not been
present."
To
get a full flavor of what inspiration says on this topic, I would encourage
readers to take the time to look up references in this article and also in the
Indexes to the writings of Ellen G White on drama, plays, and theatricals. It
will be a real eye opener. Don't take any man's word for it. Insist upon a
"Thus saith the Lord."
Dennis
Kendall New Plymouth, Idaho
Editor's
Note: "Theatrics" and "drama" are not synonymous. Much
counsel is given against injecting "theatrics" into pulpit address.'
The co-mingling of gospel proclamation with the histrionics of the stage actor
is clearly a major concern of Ellen White, and she repeatedly speaks against it.
However, the position arrived at through exhaustive study by our researcher we
believe to be a "standard" on which we can decidedly stand. The
position that all drama is inherently corrupt and incapable of transmitting
gospel truth is neither biblical nor in accordance with Adventist church
leaders, past or present. The Old Testament. sanctuary service was, in its
ritual, a ."dramatization" through metaphor of the coming Messiah.
Furthermore, God commanded his people, several times a year, to re-enact
episodes of salvation -the most dramatic of which is the Passover. These
admonitions,. in spirit, were imported into Adventist services long ago in the
form of "13thSabbath Programs," which often include short dramatic
presentations by children and youth and culminate with "observance"
(actually a dramatization) of the washing of feet and Last Supper of Jesus
Christ. These are excellent evidences that the Lord intends His people to employ
the strengths of simple drama, while avoiding the excesses and hysteria of
worldly varieties. E.S.
Quarterly
Drama
In
your response to "theatrics" and "drama", October 2000, you
implied that God commanded his people several times a year to re-enact
episodes of salvation-the most dramatic of which is the Passover—and for His
people today to dramamtize the washing of feet and Last Supper of Christ.
I
believe there was a time when serious, genuine belief in the reenactment of the
PAssover went far beyond what is labeled as drama today.
In
the dictionary, several definitions are listed under drama, and none fall under
biblical truth felt in the heart.
The
Jews, after a time, did make the Passover a ritual (dramatic performance), and I
immagine Adventists have done the same with the ordinance of humility and the
Lords Supper. We have made foot-washing comfortable for everyone, and attendance
on commumion Sabbath declines dramatically....
To
make this a dramatic performance would surly fall under this condemnation.
Robert
Rouillard
Fircrest,
Wash.
Appendix
31 - C
Author’s Letter to the September Gleanor Editorial on Drama
Lawrence
R. Hawkins,
MD
Practice
Limited to Anesthesiology
374
SE Highland Park Drive
College
Place, WA 99324
January
4, 2001
Northern
Pacific Union Conference
Att: Mr.
Edwin A. Schwisow
Gleaner
PO Box 16670
Portland OR
97292-0670
Dear Mr.
Schwisow,
Your
article in the September 2000 issue of the Gleaner entitled
“Surprising Facts About Drama and the Church” was a politically correct
expose of the current Seventh-day Adventist church and institutional
leadership’s love affair with drama, but it is not true to the facts.
I am sure that as a busy editor, you do not always have time to
carefully check your sources. This
is apparent in your article drafted from Kenneth Field’s book, Return
Voyage.” Let me explain.
You
first support your thesis in paragraphs three, four, and five that certain
types of drama are acceptable in Adventist churches and institutions by giving
your readers the impression that Ellen White “carefully qualifies her
warnings.” and “She counsels
against sensational drama, habitual attendance (italics mine),
dramas that contained ‘low songs, lewd gestures, expressions and
attitudes’ that ‘deprave the imaginations and debase the morals’.” Testimonies
for the Church, Vol 4, p 653
I
have reviewed every “hit” (the number of “hits” on each word is in
parentheses) in the 1999 Spirit of Prophecy research CD on the words drama
(42), dramas (4), actor (47),
actors (69), actresses (6),
fiction (86 ), theater (139), theaters (43), and theatrical. All of
these words, in context with the dramatic arts, do not fail to reveal an across-the-board
condemnation of enacted programs.
Second,
in paragraph seven you refer to Ellen White’s article entitled “The Pros
and Cons of Literary Societies” found in the January 4, 1881 Review and
Herald. You wrote, “ In a 1881 Review and Herald article, she
uses the illustration of a young woman who placed her wish to be an actress
before her desire for salvation. She
condemns the behavior because of the young woman’s priorities, not for her
wish to become an actress.”
In
this article there was recorded a real incident that took place with a young
Methodist woman who wanted to be an actress. It is apparent the young woman
wanted to be an actress more than her desire to give herself over to Christ.
It is also interesting to note that her first desire to be an actress
was awakened by the plays and skits she took part in as a member of the
Methodist Church. Ellen White introduces the incident as follows (and by the
way, she was writing this counsel to Seventh-day Adventist youth literary
societies):
Many
literary societies are in reality young theaters on a cheap scale, and they
create in the youth a taste for the stage. While writing upon this point, my
eye falls upon the following striking incident from real life. ( par. 5)
She
then finishes the story with the following conclusion made by the writer of
this real life incident:
And
so the visitor turned sadly away, thinking for what miserable messes of
pottage men and women are willing to sell their glorious birthright as
children of God; thinking also of the seeds which are being sowed in our
Sunday-schools, the tares among the wheat, and the terrible harvest that
may yet spring up from this well-meant but injudicious seed-sowing.
(Par 23) (Emphasis supplied)
Anyone
willing to take the time to read the entire article would quickly discern the
true facts. Ellen White not only agreed with the disapproval of the young
woman’s desire to be an actress, but
also agreed that the dramatic arts conducted in her church ultimately lead her
astray. Make no mistake here, for it is apparent that Ellen White
viewed drama practiced within the church a serious danger to youth. In fact,
the article was written because Adventist Literary Societies had failed and
degraded into “young theaters on a cheap scale.”
And
she gave the same counsel to the students living with families while attending
Battle Creek College.
Among
the most dangerous resorts for pleasure is the theater. Instead of
being a school of morality and virtue, as is so often claimed, it is the very
hot-bed of immorality. Vicious habits and sinful propensities are strengthened
and confirmed by these entertainments. Low songs, lewd gestures, expressions,
and attitudes, deprave the imagination and debase the morals. Every youth who
habitually attends such exhibitions will be corrupted in principle. There is
no influence in our land more powerful to poison the imagination, to destroy
religious impressions, and to blunt the relish for the tranquil pleasures and
sober realities of life, than theatrical amusements. The love for these
scenes increases with every indulgence, as the desire for intoxicating drink
strengthens with its use. The only safe course is to shun the theater, the
circus, and every other questionable place of amusement. —Testimonies,
Vol. 4, pp. 652, 653. (Emphasis Supplied)
Some
might deduce from this statement that she is writing against “habitual”
attendance rather than occasional attendance, which could be
appropriate. But, she is very clear that, “The only safe course is to shun
the theater, the circus, and every other questionable place of amusement.” Ibid.
p.653
In
the November 21, 1878 Review, in an article entitled “Holiday
Presents,” Ellen White penned the following counsel about fashionable
“church corruptions, dissipations, and festivals, which have a demoralizing
influence upon young and old.” and “The pulpit may defend festivals,
dancing, lotteries, fairs, and luxurious feasts, to obtain means for church
purposes; but let us participate in none of these things; for if we do, God's
displeasure will be upon us.” Par.
15. Then she makes this most
pointed statement:
Death,
clad in the livery of Heaven, lurks in the pathway of the young. Sin is gilded
over by church sanctity. These various forms of amusement in the churches of
our day have ruined thousands who, but for them, might have remained upright
and become the followers of Christ. Wrecks of character have been made by
these fashionable church festivals and theatrical performances, and
thousands more will be destroyed; yet people will not be aware of the danger,
nor of the fearful influences exerted. Many young men and women have lost
their souls through these corrupting influences. Par. 16. (Emphasis supplied)
For
you to say, “she never condemns the dramatic arts themselves” (end of
paragraph five) is not accurate. Today,
our churches and schools pride themselves on producing “acceptable” drama
that “illustrated the gospel” and supposedly “does not contain ‘low
songs, lewd gestures, expressions and attitudes’ that ‘deprave the
imaginations and debase the morals’.”
(In my paper, read about “The Crucible” produced by Walla Walla
College drama teachers and enacted by Walla Walla College students the fall of
2000.) But Ellen White counseled against attending even the highest type of
theatrical performances.
There
is an abundance of theatrical performances in our world, but in its highest
order it is without God.
We need now to point souls to the uplifted Saviour. Deceptions, impositions,
and every evil work are in our world. Satan, the wily foe in angel’s
garments, is working to deceive and destroy. The object of the death of Christ
was to declare His righteousness, and no man, woman or child can do this in
his own strength, or by his own words.
11MR,
p. 338 (Emphasis supplied)
Third,
in paragraphs ten and eleven, you refer to a play Ellen White attended as
recorded in 2MR, pages 235-238 (Letter 5, 1888).
You state “--- Ellen
White wrote a letter to the director, commenting that the children’s lines
were appropriate and commending the effort put forth.
She then made several specific suggestions on how to improve the
production.” If you had read
the whole letter, you would have discovered the “rest of the story.”
Let’s look at the facts.
On
Sabbath morning, December 22, 1888,
Ellen
White attended a theatrical performance put on by the Battle Creek Sabbath
School in which her six-year-old granddaughter, Ella W. White, was dressed as
and acted the part of an angel. There
were props, actors, music, and poems. Four days later, on Wednesday morning,
December 26, 1888 she wrote a letter to Brother Morse. In this letter
it becomes obvious that Mrs. White did condemn the program. ( The
definitions of the word condemn is “to declare to be reprehensible,
wrong, or evil, usually after weighing evidence and without reservation” —Webster’s
Ninth New Collegiate Dictionary.)
The
letter begins with, “I have risen at three o'clock this morning to write you
a few lines.” When you read the entire article, you will understand why she made the following statement:
I must say I was pained by these things, so out of order with the very
work of reformation we were trying to carry forward in the church and with our
institutions, that I should have felt better if I had not been present.
—2MR, p. 236. (Emphasis supplied)
In
fact, she made only three accepting remarks and twenty-two disapproving
remarks. Does that sound like a
kind critique giving suggestions on how to make the play better, or like a
strong rebuke?
Fourth,
in paragraphs twelve and thirteen, you refer to a paper entitled “Dramatic
Productions in SDA Institutions,” published February, 1963, and authored by
Arthur White. He makes the following statement on page one: “Request has
been received at the White Estate for the materials from the pen of Ellen G.
White which may have a bearing on the question of the production of dramatic
programs in SDA institutions.”
And
why wouldn’t there have been questions?
A television was in most North American Adventist homes by then,
Hollywood feature films were the drawing power to church and institutional
functions and many in leadership were sympathetic with the dramatic arts. For
example, Faith for Today was making drama fashionable in the Adventist
church by using it to “illustrate the gospel.”
This
was a time for the White Estates to reestablish the old landmarks against an
ever increasing church constituency and leadership who wanted drama.
Or was it time to find a way of compromise?
Remember, the Missionary Volunteer Society would soon be gone, the free
speech, flower power, rock music movements were on the ascendency, and
the “generation gap” had been proclaimed.
Yet
there were many leaders, parents, and youth throughout the North American who
were deeply concerned because the senior colleges were cranking up their drama
departments and the English and literature departments were adding more
fiction to their required reading lists.
Especially
note the thesis of Arthur White’s paper as contained in the second paragraph
of the first page:
A survey of these counsels fails to reveal an across-the-board
condemnation of all enacted programs.
In
other words, Ellen White does not condemn a program just because it may be
dramatized. In this respect the counsels touching dramatic productions are
much like the counsels relating to sports, and interestingly, the two are
treated together in two of the statements of caution.
Mrs. White did not condemn the “simple exercise of playing ball,”
(AH 499) but as she enumerated the principles involved, she pointed out the
grave perils which usually accompanied sports activities.
Mrs. White did not condemn the simple enacted program put on by the
Battle Creek Sabbath School in 1888, but in many statements she clearly points
out the many and almost sure perils which accompany “plays” and
“theatrical programs.” —A. L. White, Dramatic Productions in SDA
Institutions, February 1963. Par. 2
If
this paragraph and the one which follows it and Arthur White’s
interpretation of Ellen White’s attitude toward the play she attended as
described above in 2MR, pages 235-238 (Letter 5, 1888) were left out of
his paper, anyone reading it would conclude that Ellen White had nothing but
condemnation for the use of drama. These two paragraphs and the interpretation
actually contradict the balance of his paper.
For example, the two concluding statements he quotes on page 8 clearly
define Mrs. White’s attitude toward drama.
Jesus
Christ is the example for the Christian in all things. Of Him she wrote:
I
have not been able to find one instance where He educated His disciples to
engage in amusement of football or pugilistic games, to obtain physical
exercise, or in theatrical performances, and yet Christ was our pattern in all
things. —Fundamentals of Christian Education, p. 229.
A
sound guiding principle to keep ever in mind in dealing with questions of the
kind we have been studying is stated in Testimonies, Vol. 5, p. 360:
Our
example and influence must be a power on the side of reform. We must abstain
from any practice which will blunt the conscience or encourage temptation. We
must open no door that will give Satan access to the mind of one human being
formed in the image of God.
Fifth,
you state in paragraph fourteen, “In
1975, a General Conference special Committee on drama and its relationship to
the Adventist Christian agreed with both Ellen and Arthur White.” If there had been a minority report written on this subject,
I don’t think you would be so positive in your statement. In reality, the
committee was held in 1974 and the committee put out its report in 1975.
On
January 28-31, 1974, the General Conference convened a committee of 37 select
individuals. Some read papers on the subject of competitive sports: others on
the subject of drama. When I communicated with the General Conference to
gather information concerning this conference for my research on the inroads
of drama into the Seventh-day Adventist church, the GC archive workers were
able to find only three papers that were scheduled to be presented: those of
Josephine Benton, J. H. Hancock, and Frank Knittel. Two other papers sent were
apparently written for the committee but were not on the agenda: those of
Phyllis Paytee and Leslie Hardinge. Apparently the rest have been lost or they
did not present or turn in papers.
Leslie
Harginge and J. H. Hancock certainly would have authored a minority report if
one were allowed. The report would have been strongly opposed to the idea that
Ellen White approved any kind of dramatic arts.
Sixth.
To say in paragraph twenty-one,
“---every
liturgical act by the priests was a symbolic representation – ‘a
dramatization’ – of Christ’s saving grace.” is akin to blasphemy!
No evidence can be found that God’s priests or messengers ever used
drama in the sense that drama advocates use today.
In
a pamphlet written by David J. Lee entitled
Drama? Truth-full? Or Pretentious?, he explodes this myth.
But
did not God employ drama to Bible times? Yes, if by “drama” is meant
activities which are unusual and grab people’s attention. But we have found
no evidence that God’s messengers ever employed “drama” in the sense
that drama-advocates today employ the term.
On
a number of occasions priests (as in the whole sanctuary service) and prophets
(Isa. 20:2,3; Jer. 24:1-10; 27:2-12; 32:1-19; Ezek. 4:1-5:4; 12:2-7) made
graphic representations designed by God to convey a message to His
backslidden people. (See Ed 41; CG 19: “figures and symbols¼
animated imagery.”) It should
be noted that in giving these visual lessons, the messengers never surrendered
their own individuality. Their visual “sermons” involved pain, suffering,
and time, and were designed by God to awaken the curiosity, inquiry,
and empathy of an insensible, “stiff-necked” people. They were not a mere
“mime” or pretense or impersonation. They were a painful, prayerful
reality! Of some of the sacrificial rituals, God declared His abhorrence (see
Psalm 51:16, 17; Isa. 1:10-28). Indeed, He “gave them statutes that were not
good, and judgments whereby they should not live. And I polluted them in their
own gifts” (Ezek. 20:25, 26). He desired a loving, obedient relationship
with them, not the bloody, sacrificial system (see Jer. 7:19-30). “In the
past God overlooked such ignorance, but now He commands all people everywhere
to repent” (Acts 17:30, NIV). (Emphasis supplied)
We
believe that it is unfair to cite the Old Testament sanctuary rituals and
Ezekiel to defend pretentious drama. Those who cite their extreme efforts to
touch hearts, might gain greater truth and power by fasting and prayer for
modern Israel for 180 days+, as did Ezekiel! P.8.
Seventh,
for you to say in paragraph sixteen, “Many moral and ethical questions
regarding drama and the Christian remain to be answered.
Ellen White never dealt with them specifically, but they deserve
thoughtful consideration.” is totally misleading.
Let me say again, anyone who is willing to take the time with the new CD
of Ellen White’s complete published writings and research the subject, will
find an “across the board” condemnation of the dramatic arts.
Finally,
in your answer to Dennis Kendal’s letter “To the Editor” entitled
“Respectfully Disagree” in the October 2000 Gleaner, you again accept the
“facts” from the “exhaustive
study our researcher [did that] we believe to be a ‘standard’ on which we
can decidedly stand.” In fact,
you did not even address his concern with the statement by Ellen White after she
attended the Sabbath School play at Battle Creek when she said, “I would have
felt better if I had not been present.”
You
go on to say, “The position that all drama is inherently corrupt and incapable
of transmitting gospel truth is neither biblical nor in accordance with
Adventist church leaders, past or present.”
Your
biblical evidence is, “The Old Testament sanctuary service was, in its ritual,
a ‘dramatization’ thru metaphors of the coming Messiah.” Again, “God
commanded his people, several times a year, to re-enact episodes of salvation
— the most dramatic of which is the Passover.” And finally, “These
admonitions, in spirit, were imported into Adventist services long ago in the
form of ‘13th Sabbath Programs,’ which often included short dramatic
presentations by children and youth and culminated with ‘observance’
(actually a dramatization) of the washing of feet and the Last Supper of Jesus
Christ.” These ideas are patently false.
Please refer above to the material quoted from the pamphlet authored by
David J. Lee entitled Drama? Truthfull? concerning the sanctuary services
and the Passover. As for the Lord’s Supper, no one plays my part in the
service. It is a true drama of
life, not pretentious dramatic
acting.
And
the facts beg to differ with your statement, “---that all drama is inherently
corrupt and incapable of transmitting gospel truth is neither biblical nor
accordance with Adventist church leaders, past or present.” (Emphasis
supplied) Ellen White was very clear on her attitude concerning drama, and so
were the majority of church leaders until the forties and fifties.
You will find this evidence clearly portrayed in the appendices of my
paper enclosed.
I
realize this letter is long. Perhaps it could be printed in several editions, or
better yet, after reading the enclosed paper,
you would have sufficient courage to write a sequel to your September
Gleaner
article and set the record straight.
Yours
in Christ
Lawrence
R. Hawkins
Enclosure
Copy
Elder
Jere D. Patzer and the pastoral staff of my church.
PS: This letter in answer to your
article and “To The Editor” has been delayed because the drama paper was not
finished until the end of December.
Appendix
31 - D —
Gleaner Editor’s Response to the Above Letter
Hawkins-
I
Lawrence R.
Hawkins, M.D.
374 SE
Highland Park Drive
College
Place, W A 99324
Dear Brother
Dr. Hawkins:
You've put a
lot of effort into the letter of Jan. 4, which I just finished reading. I
appreciate the
sincerity and
high quality of that effort, but I must say with equal candor that I am not
threatened by this
divergence of opinion regarding drama. I believe sincerely that the evidence
from Ellen
White's
writings portrays the dangers of a significant portion of the dramatic palate,
but not a
wholesale
indictment of historical and gospel enactments. To take this position, even in
the face of the severe
criticism Sister White metes out against some types of drama, is truly to run
in the
face of the
clear evidence of Scripture.
Some feel
that the yearly Hebrew/Jewish services WERE NOT dramatizations. That's
incorrect;
they were.
The gathering around the Passover table and the service of reliving the
Passover event,
standing and eating bitter herbs and unleavened bread, is CLEARLY an
"entering in" of
the people
(actors) into the "characters" of those who left Egypt. In these
enactments, the Jewish children
clearly assumed the "voices" of people centuries dead. Ditto for the
feast of tabernacles, and so on and
so forth. The ancient Judean faith (which Jesus by and large observed, except
for its skewed
values and hypocrisy) was filled with drama for educational purposes.
The position
that all drama is inherently ungodly is akin to the ultra-orthodox
Hebrew position
that all
photography, all statuary, all man-made depictions of created
life, are a breaking of the second
commandment. The problem is that those who hold to this view disregard the
fact that the
tabernacle of
the Most High was filled with depictions of created beings. Does God instruct people to
break His own commandments? Certainly not. The Bible explains itself, and the
second
commandment
is clearly contextualized by the rest of Exodus, that explicitly MANDATES artistic
recreations of created life.
Likewise with
drama. If the God of Our Fathers had ordained that NO DRAMA should exist in
His remnant
camp, (1) Why is yearly dramatic-style memorialization of Hebrew history
mandated by
Scripture; (2) Why is there no specific condemnation of dramatic arts in
Scripture;
(3) Why does
Ellen White confine her derogatory statements on drama-related topics to
"the
stage,"
and "theatrics," rather than explicitly stating, "Never shall a
follower of Jesus portray, or
observe the
portrayal, of another human being in a dramatic setting," or words even
approaching
such a
blanket disavowal. The point is, no such statement exists, because Ellen White
and
Scripture
remain in intricate harmony.
My recent
article presents this view as its thesis statement, and holds to that view in
the response
to the letter
writer. Ditto for Arthur White and the General Conference. I cannot imagine
that
Arthur White
would have the effrontery to "mince" or "bias" his
grandmother's words--to twist
her intent to
make her say diametrically the opposite of what she truly meant. The tenor of
Arthur's life
was not to distort, but to dignify the teachings of his grandmother.
Where you and I
find KEEN AGREEMENT is in our overwhelming distaste for contemporary
drama, current
Hollywood programming, and the tawdry, sensual messages portrayed so expertly by the craft of
the day. Our disagreement comes when I
say,
on the one hand, that good drama
can and should
be employed to counteract amoral and immoral drama; you stand fast in your view that
danger lies in using drama of any kind.
Hawkins-
2
David J. Lee,
in has allusion to Ezekiel 20:25, 26, I believe does us all an injustice in
suggesting
that God
literally subjected His people to "statutes that are not good."
Read with me in
the Adventist Bible Commentary what learned, conservative theologians have to
say, "The
statutes the people had adopted, which were not good, came from the heathen
round
about them. But
how can it be said that God gave these to them? In Bible figure, many acts are
attributed to
God, not with the idea that He actually performs them, but from the point of
view
that in His
omnipotence and omniscience He does not prevent them. An understanding of this
principle helps
to explain many apparently contradictory statements, which, like the one here
under
consideration, seem to contradict flatly the Bible teaching that
God's character is pure and
holy."
So I would
implore you to hold true to what you have. Perhaps for you, complete abstinence
from
drama is the
only sure course. That's great! The Lord works in mysterious ways. And your
emphasis upon
the problems associated with drama are right to the point. We NEED folks like you who can
step forward and say, "Yes, this is morally wrong. We must repent. We must
change
course."
You and I are
equally distressed by the moral turpitude of the theater and the liberal
leanings
through the
ages of professional stage actors. And it's tempting to say, "The history
of drama is so sordid, and
the admonitions against it by the Prophet so stringent, to be on the safe side,
we as
Adventists
should not even touch this unclean thing."
We differ, but
in our love for the Lord and in our desire to be with Him soon, we are brothers.
We need not
alienate ourselves from one another on this issue. The Holy Spirit will lead us.
Let us not become
overwrought because of these questions of methodology and prescriptive
righteousness.
Complete abstinence from worldly drama is a wonderful goal; complete dedication to
drama that lifts of Jesus can certainly be an equal blessing, in this end time.
Yes, I would
entertain an article on the dangers of drama, but I feel convicted that it would
be
inappropriate
to go that extra step and advocate complete removal of drama from the gospel
tool
chest. The
Bible clearly does not prohibit drama, and in fact in places mandates it. When
in
doubt about
Ellen White's statements, we must turn to Scripture to interpret her sayings. I
have
done that, and
find her less than entirely prohibitionist toward Christian drama.
I wish you well
in this new year. Please feel free to write me at any time. I will be diligent
and
prayerful in my
responses, as I have been here.
Schwisow,
Editor
GLEANER
Magazine
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