This article calls for vibrant congregational responsive reading that can be achieved through congregational rehearsal and creative adaptation of the biblical text. Several examples of the authors’ work appear in the next chapter of this volume.
Think about it for a moment. Isn’t a “responsive reading” supposed to be responsive? But, honestly, aren’t most of the responses you hear from your congregations what you might call “less than exciting?” Are they not too often slow, in low voices, and tedious—like a large, cumbersome sound, a mumbling, perhaps—concentrating more on keeping up with the rest of the voices rather than responding in the gladness and joy of worship? In congregational singing you hear excitement, harmonies, soprano voices, deep bass parts resonating. In responsive readings too often everything is in dull, lifeless monotone.
Part of the problem simply centers on what we expect of a congregation in terms of spontaneity. Would God object if we rehearsed the congregation and introduced it to exciting reading that corresponds to the excitement of its experience with Christ?
Responsive readings are not new to most churches or worship leaders. For most of us, they have been a part of our Christian worship heritage for as long as we can remember. In that regard, this form is not new.
We have drawn from four common dramatic forms in composing readings for the congregation: traditional responsive form, readers’ theater, traditional drama, and choral reading. Those familiar with these forms will recognize some of the techniques for maintaining interest, attention, and involvement.
Both of us have experienced lifeless responsive readings in worship. We were sure something could be done to improve our involvement. With that in mind, we began writing. We decided that worship leaders may encourage their congregations all they wish, but they need the help of a well-written reading as well.
Traditionally, responsive readings have simply called for repeating verses of Scripture arranged alternately for the reader and the congregation. It has apparently mattered little how long these passages are. But in congregational reading, the longer the passage, the less enthusiastic the response becomes unless there is some rehearsal with the group (which virtually never happens).
Responsive readings may expand beyond this traditional approach. The congregation may be cast in various roles (as in drama) where it responds as a character in the story (as in readers’ theater). The congregation may play the fool, the Pharisee, the publican, God, the believer, the skeptic. Good reading is easy to achieve (as in choral reading), and the congregation gets to answer and suggest corporately (as in traditional responsive readings). At all times we have worked at keeping the responses short so that the monotony of untrained reading would be avoided, and a minimum of rehearsal or instruction would be needed.