We first described how we build biblical texts in space. Let's give some examples of shows now. Though restrained, they still belong to the theatrical field.

MARK GOSPEL:

In 1987-88 we presented "Mark - the gospel". We toured in 40 French theatres and the audiences ranged from 100 to 1500.

1/ adapting the text and selecting the proper method:

In Mark one often comes upon narratives or dialogues. Anyway we did not consider it as a sequence of narratives, dialogues and occasional speeches. We were not worrying too much about forms. We rather focused on Mark's dynamic power as a word for everyone. We started the way Mark did: "here begins the gospel of Jesus-Christ the son of God" ( see John, as well: "this is the testimony...") . From that point onward we tried to dig out looks, moves, pauses, even if the text did not mention them. We do believe that narratives tell about life, conversations, simple reactions; that dialogues arise from a situation; in a word, that nothing is poetical fiction in Mark. We didn not judge the text. With our bodies we let the gospel say its written words.

Take Peter's denial (Mk 14- 72). Mark sums up the apostle's despair in a short sentence: "and as he thought of it, he burst into tears." Such a sentence is written in no time. Staging it, we decided to enlarge upon Peter realizing what he had done. We therefore came to a more genuine length in that awareness. The actor walked about on the stage for a whole minute and a half and  his growing inner distress could be felt.

Setting how long events had actually lasted has been our chief worry. Of course, the text does not mention how fast it should be read  and whatever pauses should be made etc... Yet, one cannot shift right away from one event to another. Therefore one has to know how to stage time, and all the transitions.

We were soon led to looking for the links that join together narratives or dialogues. We set about writing a series of pauses that would enable the text to resound, start off again and move on. Those pauses really are situations that develop or react on each other without being new scenes added up to the Gospel.

Every moving on the stage was elaborated as part of a choreography. All the entrances, exits and moves were done in a precise rhythm that changed as the action developped. We thus intended to help the spectators as they were listening to a demanding and sometimes astonishing text. Our own testimony had to come out - the gospel had powerfully appealed to us; then the Gospel had to enthral them as well.

We were only four actors on the stage. Each of us played a character in turn. The text would now be voiced and split among all of us or then was said in more intimate and personal dialogues as they occur in the gospel.

As to Jesus, the parables or short sentences he said were acted by either of the four of us, male or female. On the other hand, when it came to scenes where Jesus appeared more as a human being than a living word, his character was played by any of the two male actors. We mean that two actors were Jesus alternately. Such choice did not hinder understanding, and was particularly appreciated by the audience.

One will recognize Jesus through what he says and not by means of the stereotyped image people will occasionally give him. Jesus is the word that became flesh.

2/ Scenery and space:

We wanted no sceneries. We wanted atmospheres.At the backstage was hanging a large asymmetrical panel and three practicables of different height. The lights were carefully planned though quite unobstrusive. They stressed out the tenseness and enhanced the narratives but were never redundant.

3/ The Costumes:

They were simple robes without any pleat. We wanted to play on hues, rather, and on their natural symbolism: at the beginning deep blue colours could be seen and lighter blue with light and flowing material - God's mystery, perhaps slightly distant. And then remoteness came into a shape and the materials were growing heavier and duller in beige, rose, straw tinges. The Light of the word was coming forward and would leave the mystery behind.

Mere stoles different colour were then worn over the robes to stress out a character: white stoles for the pharisees; a blue-green one for Christ; a red one for Herod. No properties were used; everything was not mimed but suggested.

Our publication goes on with how "the acts of the apostles" was staged.