The Spiritually Dull

Rabbi Abraham Joshua Heschel painfully describes the typical worship experience* “Our services are conducted with pomp end precision* The rendition of the liturgy is smooth* Everything is presents decorum, voice, ceremony. But one thing is missing LIFE. One knows in advance what will ensue. There will be no surprise, no adventure of the soul…Nothing unpredictable must happen to the person who prays. He will attain no insight into the words he reads. He will attain no now perspectives for the life he lives” (1)

Rabbi Heschel continues, “what was will be, and there is nothing new in the synagogue!” (2) How true are these words despite the countless hours spent in evolving “creative” or “original” services. Service innovators have tried creative writing, jazz music, rock music, acid rock music? dance, drama., multi-media, film, camp settings, retreats, and a wide variety of other creative tactics, including resorting to traditional prayer.

The failure of these techniques to be truly satisfying and therefore reused is understood by one reform rabbi who succinctly presents the underlying problem of all these creative attempts? “Our hang-up is that an experimental service can only touch the symptoms, but not the cause of our trouble.”’

By breaking into and disturbing the dulling routine of formal worship, these creative efforts provide momentary relief to the problem Heschel so acutely describes “people who are otherwise sensitive, vibrant, arresting, sit there aloof, listless, lazy. Those who are spiritually dull cannot praise the Lord.” (3)

The symptoms, however, are of the utmost importance to us. Indeed, at the present moment these data of our own experience are more useful to us than even thousands of pages written about what Jewish Prayer “should be” according to the texts. To start with what prayer or worship should be rather than to start with our own. experience? would’ be like a physician who refused to see his patients because they were sick, exhorting them meanwhile that they should feel better.

Using this medical-scientific approach, we must begin with the symptoms, probe deeper into the underlying causes, and then treat the disease. In allowing ourselves to get involved with such a task, we take on the responsibility of openness to recognizing and correcting whatever errors we might make* while searching for the underlying causes, we must be open to the validity of the symptoms and continue to treat them, for until we can eliminate the pain, we might certainly minimize it! Even the most superficial of the creative efforts confirm the experience of most worshippers, namely that something is not as it should be. To stop the creative efforts would be to deny the experience so many of us have, and it is the phenomena of the denial of experience – which seems the very basis of our problem.

Rabbi Heschel’s apt paraphrase of the psalms verse “the dead cannot praise the Lord1 “Those who are spiritually dull cannot praise the Lord” presents us immediately with two concepts , that must concern us, spiritual dullness, and praise of the Lord. -It is the contention of this writer that the spiritual dullness is the symptom of the problems involved in the whole matter of Praising the Lord. Indeed, in our contemporary world, the imperative of our traditional call to worship, “Praise Ye the Lord to whom All Praise is Due”, might well be seen as a prescription error.

Physicalization

PHYSICALIZATION

Spolin:              

“The term ‘physicalization’ describes the means by which material is presented to the student on a physical, non-verbal level, as opposed to an intellectual or psychological approach. ‘Physicalization’ provides the student with a personal concrete experience (which he can grasp) on which his further development depends,  and gives the teacher and student a working vocabulary necessary to an objective relationship.”

“Reality, as far as we know, can only be physical, in that it is received and communicated through the sensory equipment. The physical is the known, and through it we may find our way to the unknown, the intuitive, and perhaps beyond, to man’s spirit, itself.” Page 15-16

Understanding a prayer is best accomplished when the student is able to replicate the concrete human emotions which underlie the particular prayer. Through an in-class shared experience, the class is able to abstract and transfer itself toward the written prayer text. In the process, the individual words become alive and part of the organic interaction between the worshipper and the audience.

The Audience is GOD – The self in the universe

Improvisation for Jewish worship

The validity of teaching Jewish worship as theater is underscored by the words of Viola Spolin, whose improvisation for the theater is a classic text of not only theater proper, but educators and group leaders attempting to foster creativity in their work with others. Spolin writes about the ripple effects of learning how to act:

“Because of the nature of the acting problems, it is imperative to sharpen one’s whole sensory equipment, shake loose and free oneself of all preconceptions, interpretations, and assumptions (if one is to solve the problem) so as to be able to make direct and fresh contact with the created environment and the objects and the people within it. When this is learned inside the theater world, it simultaneously produces recognition, direct and fresh contact with the world outside as well.”

Viola Spolin, Improvisation for the Theater…page 15

Teaching prayer

What Dr. Bruno Bettelheim writes about teaching young children to read holds equally to teaching prayer. Describing the need for the material or story to be interesting and enrich the child1s life.

”It must stimulate his imagination; help him to develop his intellect and clarify his emotions; be attuned to his anxieties and aspirations; give full recognition to his difficulties, while at the same time, suggesting solutions to the problems which perturb him.” (The Uses of Enchantment, page 5)

Teaching prayer must meet the same requirements that Bettelheim establishes for teaching reading:

In short, it must at one and the same time, relate to all aspects of his personality – and this without ever belittling, but on the contrary, giving full credence to the seriousness of the child*s predicaments, while simultaneously promoting confidence in himself and his future.” (op cit.)

Teaching Jewish worship as theater allows the students to take the prayers seriously without taking them literally. It means sensitizing the students to being actors working with a script, for which they are not always in the mood. Separating role as performer and performer as person is something that happens – and students come to recognize that at times the script can prepare them to pray, if they would  allow it that possibility.

Experiencing a prayer opens up to the student that area of life and human emotions that the prayer expresses, allowing  him or her to “try it on for size.” Reciting a prayer opens up with the worshipper these aspects expressed in the prayer by bringing those emotions into consciousness during worship.

Preparing ourselves for Prayer

Richard Schechner suggests four steps he uses to prepare his actors:

  1. Getting in touch with yourself
  2. Getting in touch with yourself face to face with others.
  3. Relating to others without narrative or other highly formalized structure.
  4. Relating to others within narrative or other highly formalized structure…

For our purposes, the fourth step – ‘’Relating to others within narrative and other highly formalized structures” is our goal, and translates into being able to pray or worship utilizing the words of our script, the Jewish liturgy. All too often our teaching approach focuses on the goal and leaves out the important steps or process of opening Gates of Prayer,

Prayer and the script of our liturgy is perhaps the most difficult drama of all – and needs the greatest preparation. The first two steps for us is the process necessary to create community – a vital component to worship . Creating community is far from easy , as Schechner comments on the relation between steps one and two.

In elaborating the first two steps, Schechner relates:

”Once there is trust, almost anything can happen. Before you can trust others, you must first learn to trust yourself.

The first step of performer development takes the most time because it is so difficult for a person to learn to trust his own impulses. The second step expands the circle of trust to include at least one other person.” page 147-148

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