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07.10.2015
We rarely see a€?bracketsa€? questioning the originality of text in our modern day versions of the Bible, but there are at least two places, which we find them.
The Apostles of Jesus, who were appointed to serve as Christa€™s disciples while He was on the earth, primarily wrote the New Testament under inspiration of the Holy Spirit (2 Peter 1:21). For almost fourteen hundred years (up to that time) Bibles containing the New Testament had been on an amazing journey. 1A Long ago, at many times and in many ways, God spoke to our fathers by the prophets, 2A but in these last days he has spoken to us by his Son, whom he appointed the heir of all things, through whom also he created the world. Imagine writing out the full 1st chapter in Hebrews, and then imagine yourself copying down a€“ without error, the full book of Hebrews.
Parallel this writing task with the fairly simple time it takes to enjoy reading the Bible. The great comfort we can have in the [brackets] is that we are going ever closer to the source of the a€?autographsa€? and the scholars who have given us the Bible are not afraid to do so. The fact that we have [brackets] in our Bibles means that we are forthright and honest in our search for the truth and to know the Truth will set us free! 9A [[Now when he rose early on the first day of the week, he appeared first to Mary Magdalene, from whom he had cast out seven demons.
12A After these things he appeared in another form to two of them, as they were walking into the country.
14A Afterward he appeared to the eleven themselves as they were reclining at table, and he rebuked them for their unbelief and hardness of heart, because they had not believed those who saw him after he had risen. 19A So then the Lord Jesus, after he had spoken to them, was taken up into heaven and sat down at the right hand of God. If the numbers are few and the time gap is wide, the original is harder to reconstruct with confidence.A  However, if there are many copies and the oldest existing copies are reasonably close in time to the original, the textual critic can be more confident he's pinpointed the exact wording of the autograph.
To get an idea of the significance of the New Testament manuscript evidence, note for a moment the record for non-biblical texts.A  These are secular texts from antiquity that have been reconstructed with a high degree of certainty based on the available textual evidence. Uncial manuscripts provide virtually complete codices (multiple books of the New Testament bound together into one volume) back to the 4th Century, though some are a bit younger.A  Codex Sinaiticus, purchased by the British government from the Soviet government at Christmas, 1933, for A?100,000,[9] is dated c. KJV: But if ye do not forgive, neither will your Father which is in heaven forgive your trespasses.
NIVfn: But if you do not forgive, neither will your Father who is in heaven forgive your sins.
KJV: 3 In these lay a great multitude of impotent folk, of blind, halt, withered, waiting for the moving of the water.
Reason: Majority of manuscripts do not contain this verse (only Codex Bezae, some Old-Latin and Vulgate manuscripts). KJV: And when he had said these words, the Jews departed, and had great reasoning among themselves.
B = bracketed in the main text a€“ The translation team and most biblical scholars today believe were not part of the original text.
Note: In the New International Version, the following verses are absent from the main text, but have been translated for inclusion in the footnotes. The King James Version (KJV) a€” Translated in 1611 by 47 scholars using the Byzantine family of manuscripts, Textus Receptus. The New American Standard Bible (NASB) a€” Translated in 1971 by 58 scholars of the Lockman Foundation, from Kittlea€™s Biblia Hebraica and Nestlea€™s Greek New Testament 23rd ed., which include the Alexandrian Family codices.
The New International Version (NIV) a€” Over 100 translators completed this work in 1978 which was composed from Kittlea€™s, Nestlea€™s and United Bible Societya€™s texts, which include the Alexandrian Family codices. The New King James Version (NKJV) a€” 130 translators, commissioned by Thomas Nelson Publishers, produced this version from the Byzantine family (Textus Receptus) in 1982.
The English Standard Version (ESV) - Emphasizing word-for-word accuracy, literary excellence, and depth of meaning, the ESV Bible is especially suited to be the basic text for a study Bible. John Wycliffe (1329-1384) an Oxford scholar, teacher and priest in the Church of England, supervised the translation of the Scripture into English from the Latin Vulgate (most commonly used translation at the time, by the clergy) and the hand-written English copies spread across England. Ehrman notes that some of the most known of these verses were not part of the original text of the New Testament. Verse is included by very few Greek manuscripts of the Western text-type and by Old-Latin and Vulgate manuscripts. 4 For an angel went down at a certain season into the pool, and troubled the water: whosoever then first after the troubling of the water stepped in was made whole of whatsoever disease he had. The first one into the pool after each such disturbance would be cured of whatever disease he had.
7 But the chief captain Lysias came upon us, and with great violence took him away out of our hands, 8 Commanding his accusers to come unto thee: by examining of whom thyself mayest take knowledge of all these things, whereof we accuse him. 7 But the commander, Lysias, came and with the use of much force snatched him from our hands 8 and ordered his accusers to come before you. This is a revision of the King James Version, updated to modern English with minor translation corrections and retention of traditional phraseology.


11A But when they heard that he was alive and had been seen by her, they would not believe it. 16A Whoever believes and is baptized will be saved, but whoever does not believe will be condemned. And after this, Jesus himself sent out by means of them, from east to west, the sacred and imperishable proclamation of eternal salvation.
325-350.[11]A  Codex Alexandrinus contains the whole Old Testament and a nearly complete New Testament and dates from the late 4th Century to the early 5th Century.
NIV is generally in agreement with the Nestle-Aland editions of the Greek New Testament, which relegate such verses to the margin.
It has been the most reliable translation for over three centuries, but its Elizabethan style Old English is difficult for modern readers, especially youth.
It found life in its cast, who through the careful direction of the aforementioned writer, brought a rollercoaster of sadness and despair, passion, betrayal, love and misery to the stage, without the singing!Aesthetically this play found its strength in the stunning imagery of moveable, multi-use boxes that became tables, beds and desks.
A moving set creating prison walls, high barricades and bordellos, pubs and tenement houses. That combined with lighting allowed each scene to come to light.One critical point of note was the sound, though very truly poignant and appropriate for each use, there was no fade or easement meaning the music and sound started and ended abruptly. So what do you say?a€? 6A This they said to test him, that they might have some charge to bring against him. This, though related to the brechtian style of distancing highlighted by the projected dates, left me feeling as an engaged member of the audience, uncomfortably distanced.A There didn't seem to be a chorus, so well blent were the characters, so well developed. The most fulfilling moments were the group scenes where all of the characters were active, responding and reacting to what's being said.
The King James Version has become the most widely read version of the Bible in the history of mankind. It really made the entire thing come alive and added depth and sincerity.This said, there were times when the dialogue was masked by noise levels and parts of the bar scene were incredibly hard to focus on. 9A But when they heard it, they went away one by one, beginning with the older ones, and Jesus was left alone with the woman standing before him. Noise levels add effect when they are done effectively, this was clear during the scene outside Javerts office whilst Fantine begs for her life, a real moment of choral unity.Mention must be made to Chris Smith (Javert) who portrayed the journey of a rigid man of the law, a justicial absolutist, question and compromise his before black and white view of the world and humanity only to lead himself into the water to drown.
A stunning performance.Nick Mitchell-Briggs, a man of gentle words and tempered timing masterfully played Jean Valjean, handled the variation of anger, sorrow, pride and pity to a fully embodied state. Very convincing.Misery comes in many shapes and sizes, sometimes we feel it and sometimes we cause it. An utterly detestable couple of cut purses, in their own ways victims of their time, their generation, their society, propogators of the curses that their children would soon be living. A point of fixation from the audience, young Daniel plays the stage like an instrument and it is startlingly clear that he not only knows his words, he understands them. If this young man sticks with this field, tries hard and doesn't let the praise go to his head (I'm sure it won't) he has great things ahead of him.A Funnily enough, the second mention is related to the first, are you seeing a pattern emerging? Ellie Smith brought a reality to Eponine Thenardier that was refreshing and touching to witness. The love bitten teenager who followed her idol of fancy onto the battlefield and met her end at the edge of a political bullet, dying in her loves arms. So I will, a little.A What would Les Mis be without the men who fought against misery with anger, the young rebel students of Paris lead by Enjolras (Hallam Britten), and how lead they were.
These young men of the company spoke intelligently and reflected an anger felt by many in the recent student protests, it was relevant and wholly deserving of praise.A This play has many characters and actors (young and old) who deserve a mention, the tragic demise of Fantine (Becky Kinghorn) was beautifully executed and her daughter played by both Miranda Smith (ANOTHER ONE?!) and Anna Gent, were simply a pleasure to watch as they travelled through this cavalcade of a play. The spinsters and nuns were a particular favourite a good mix of nails out catcalls and muttering gossip. This kind of dedication shows a level of hands-on attitude that is not to be messed with even in professional theatre. It was a joy to witness.A To conclude, I feel it is too easy to label this group as an amateur dramatic society, too easy to see 'community' before thinking 'quality'. To call this group and everyone in it; their last, their least, their littlest, part of an amateur company is an insult. This is theatre at it's best, a family with many surnames coming together through trials and tragedies to make something out of the ordinary, something exciting, something new.
I thoroughly enjoyed this performance and will make more effort to see more, I am always impressed.A A 'A brilliant performance! I enjoyed it more than the film version and now the story makes sense!''A Thoroughly enjoyed the show!
Well done!A This was an exceptional production, fantastic lights and music, simple but brilliantly effective staging and innovative video projection to link the storyline together.
This was an energetic, funny but moving play about a team of ladies taking part in the London MoonWalk to raise awareness of breast cancer. We feel so proud to have been part of the experience and to have raised so much for our chosen charitiesa€™.


A In the spirit of the play PVADS raised money from ticket sales, champagne raffles and donations to give to charity. Although all the figures have not yet been finalised I can confirm the Cheshire Cats will be donating over A?500 to charity! It was so well acted, visually exciting and had enough energy to light Pewsey on a dull day! Inspired by the play and having run the race for life a few years ago i thought (at the risk of quoting Maggie) i could lose some baby weight and raise some money at the same timeA "A Taking part in the Cheshire Cats has been an amazing experience and will be a memory I will cherish forever. I feel honoured and priviledged to have had the opportunity to work with some very talented people and you have all taught me so much ! PVADS is an amazing group to be a part of and I am really thankful that I came along for that audition. The best thing about this whole journey is the self confidence it has given me , oh and I have learnt how to act like a 'Cougar' all I can say now is 'Watch out all you PVADS lads' grrrrrrroowwwlll!How about it folks?
The most fulfilling moments were the group scenes where all of the characters were active, responding and reacting to what's being said.
This is theatre at it's best, a family with many surnames coming together through trials and tragedies to make something out of the ordinary, something exciting, something new. I thoroughly enjoyed this performance and will make more effort to see more, I am always impressed.A A 'A brilliant performance! I enjoyed it more than the film version and now the story makes sense!''A Thoroughly enjoyed the show!
Audiences were treated to magical, fantastical, energetic performances over three nights and showed their appreciation by loud laughter, applause and standing ovations. Sensitively and naturalistically directed, the actors made this completely accessible to our audiences.
The set was simple but very effective - 4 huge neolithic stones, 2 advertising banners and centre sacrificial stones used as a platform.
Andy Vowles as Duke Theseus did a plausible impression of a baby boomers rock star and his screaming fans made the opening full of noise and vibrancy. Avril Allsop also showed she was no shrinking violet and made the most of her small role as Hippoltya . It is sometimes hard to know why Helena, played by Kate Powell, actually loves him so much.
But Kate brought just enough humour and pathos to her besotted love that it showed that even she didn't quite understand the vaguries of her heart either!
A very strong performance from Kate made all the more remarkable by her short (3 day) rehearsal time. Our first glimpse of the mechanicals introduced a motley team of hapless stage hands who couldn't organise the proverbial in a brewery.
The visually funny physicality of the team - 5 large men and the smallest mouse of a boy - only hinted at the riotous hilarity to follow.The transformation scene from Stonehenge to enchanted forest, orchestrated by Puck was indeed magical.
Oberon's fairies, played by Cherry Mawby, Sarah Devine, Anna Gent, Coutney Clark and Hannah Jeffries - were absolutely key in creating atmosphere and drama throughout the play through their constant focus and otherworldly movement - always watching - at times quite sinister but then free and wild!We were then treated to some fantastic violent verbal sparring from Emma Preuss as Titania - there was no doubt that she and Oberon had strong forces at work between them, both anger and a overpowering physical relationship. I must commend Jai Little on his 1st stage appearence - he managed to keep his focus during the sizzling arguments and shouting between his dad, Darren little, and his stagemum Titania!
Puck transforms Bottom, played by Martin Turner, into a donkey who Titania immediately falls in love with.
I have seen this performed in many ways, portraying Bottom completely comically or just as a sexual object - but Martin brought a subtlety to his performance that was just perfect and was complimented by a convincingly lustful Titania and horrified fairies!The scene where the lovers are in total confusion - with the help or should I say hindrance of Puck's magic potion, Lysander and Demetrius now love Helena and Hermia is spurned by all of them - tends to be the hardest of all to play. Many adaptations use a mixture of overt comedy and farce to show how ridiculous love can be. Nettie chose to bring real emotions to the lovers - the confusion, anger and bewilderment of the girls was believable and the conflict between the boys kept the pace fast moving. We were treated to some excellent team work from the four lovers and the scene ended with a heart-rending song from Hermia which left the audience in tears at the interval!The subtle use of music throughout the play helped set the mood of each scene, almost like a film score, however it was the beautifully choreographed fight and flight scene in the woods with the lovers that deserves particular mention - as does some of the quirky musical introductions to the mechanicals, from awful off key sound track of Madness to heavy rock ballad of Nazereth.But really the mechanicals needed no introduction! Dan Eyles as Snout, the wall looked hilarious in his 'homemade' wall out of beer, pizza and coke boxes and somehow managed to pull the most exquisitely funny facial expressions with his head in a wine box!
Then we had too opposites in both age, stature and experience both vying to steal the show with their performances. Paul Hornbogen played Starveling the moon- a man of few words - but with the aid of a lantern, a dog lead and long history of comedy acting behind him managed to bring so much humour to his role in such a minimalistic way. Daniel Smith as Snug the lion , one of our youngest actors, held his own throughout the play - he observed, listened, copied the great actors he was playing against and then added his own little bit of magic - a promising comedian for the future.In summary - this was a fantastic production, visually, emotionally, dramatically - put on by a well rehearsed, well directed, well supported team of actors.



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