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Die Heilende Kraft Der Reinen Gebarde: Gesprache Uber Liturgische Prasenz (Impulse fur Liturgie und Gottesdienst, 2)
Das Buch versammelt Gesprache mit dem im Fruhjahr verstorbenen Dresdner Tanzer und Choreographen Manfred Schnelle uber liturgisches Handeln, uber die Gebarden und Gesten im Gottesdienst und uber eine Spiritualitat der Bewegung. Schnelle (1935-2016) kam aus der Schule des Ausdruckstanzes in Deutschland, dessen bedeutendste Vertreterinnen Mary Wigman und Gret Palucca waren. Seine Erfahrungen mit dem Tanz in Kirchen und seine tiefe Frommigkeit, gepragt von der Michaelsbruderschaft und der christlichen Zen-Meditation Enomiya-Lassalles, haben ihn zu einem genauen und sensiblen Beobachter liturgischer Vollzuge gemacht. Die Gesprache beleuchten, wie eine starke und glaubhafte liturgische Prasenz entstehen, wie man sie uben und erlernen kann. Neben elementarem Grundwissen fur den Pfarrberuf geht es vor allem um Weisen der Aufmerksamkeit und einen eigenen spirituellen Weg. Die vielen Fotografien im Buch zeigen, wie Manfred Schnelle selbst liturgische Gesten verwirklichte. Diese Bilder konnen der Ausgangspunkt fur eigene Ubungen sein. So will der Band allen denen dienen, die haupt- oder nebenamtlich Gottesdienste verantworten und dabei den liturgisch-leiblichen Aspekt der Verkundigung beachten.
112 pages, Paperback
Published November 8, 2016
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November 20, 2017
This book is the record of conversations between Christian Lehnert, a theologian who specializes in liturgy at the University of Leipzig, and Manfred Schnelle, a dancer and choreographer in Dresden who died shortly before this book appeared. The authors give helpful advice on essential stations in a worship service, including the invocation, prayer, and Lord’s supper.
The combination of “reine Gebärde” (pure gesture) in the title and “liturgische Präsenz” in the subtitle, however, reinforces a common misunderstanding that certain postures or gestures are “present.” This impression is strengthened by the inclusion of photos showing Schnelle performing acts such as the blessing or making a cross.
Once one begins reading the book, it quickly becomes clear that there is more to it. Already in the Vorwort (foreword), Lehnert writes that Schnelle’s answers never came in the form of rules, or what is “right,” much less technical descriptions. Instead, they consistently pointed to a spiritual path, an inner readiness and openness for the secret of God. This personal spiritual movement was for him the premise of all liturgical acts; they were for him less a “doing” than a “receiving” (p. 6, my translation).
More clarity comes on page 16, when the title is called something the ancient Church spoke of. Schnelle’s comment on it: No one can do that at the drop of a hat.
Much of what is discussed and demonstrated was familiar to me through my work with Thomas Kabel, who first popularized the phrase liturgical presence. But there were a few insights new to me. For instance, Schnelle, who was a dancer, spoke of the importance of the Boden, the floor, as the constant basis of all movement in a room (p. 13). He also describes the path to the altar as a prayer in pure motion. By this, Schnelle means a posture without character. He illustrates this by a parallel to meditation, in which the goal is to let go of concern with the self.
After Schnelle’s dismissal from the Dresdener Staatsoper (creativity was not always prized in the DDR), he lived from performing choreographed dance in churches. It was natural, then, for Lehnert to ask him his opinion of liturgical dance. I won’t quote Schnelle’s entire reply here, but one important point he makes is that liturgical dance is a misnomer. One who celebrates liturgy has only a narrow margin of discretion, whereas dance demands freedom in space and gesture.
Schnelle’s approach can best be summed up in this advice: “Sei ganz das, was du tust!” (p. 30). This book is recommended for anyone concerned with quality in worship.
The combination of “reine Gebärde” (pure gesture) in the title and “liturgische Präsenz” in the subtitle, however, reinforces a common misunderstanding that certain postures or gestures are “present.” This impression is strengthened by the inclusion of photos showing Schnelle performing acts such as the blessing or making a cross.
Once one begins reading the book, it quickly becomes clear that there is more to it. Already in the Vorwort (foreword), Lehnert writes that Schnelle’s answers never came in the form of rules, or what is “right,” much less technical descriptions. Instead, they consistently pointed to a spiritual path, an inner readiness and openness for the secret of God. This personal spiritual movement was for him the premise of all liturgical acts; they were for him less a “doing” than a “receiving” (p. 6, my translation).
More clarity comes on page 16, when the title is called something the ancient Church spoke of. Schnelle’s comment on it: No one can do that at the drop of a hat.
Much of what is discussed and demonstrated was familiar to me through my work with Thomas Kabel, who first popularized the phrase liturgical presence. But there were a few insights new to me. For instance, Schnelle, who was a dancer, spoke of the importance of the Boden, the floor, as the constant basis of all movement in a room (p. 13). He also describes the path to the altar as a prayer in pure motion. By this, Schnelle means a posture without character. He illustrates this by a parallel to meditation, in which the goal is to let go of concern with the self.
After Schnelle’s dismissal from the Dresdener Staatsoper (creativity was not always prized in the DDR), he lived from performing choreographed dance in churches. It was natural, then, for Lehnert to ask him his opinion of liturgical dance. I won’t quote Schnelle’s entire reply here, but one important point he makes is that liturgical dance is a misnomer. One who celebrates liturgy has only a narrow margin of discretion, whereas dance demands freedom in space and gesture.
Schnelle’s approach can best be summed up in this advice: “Sei ganz das, was du tust!” (p. 30). This book is recommended for anyone concerned with quality in worship.
Displaying 1 of 1 review