Page 25 [25]
OCR
CHAPTER ONE: LIVING THROUGH DRAMA Eriksson sees “living through’ akin to a demonstrative, representational acting tradition, reminiscent of Brecht”® in his research of Heathcote’s work. I will return to this important debate later in this chapter. When writing that participants behave as if they were living through Neelands acknowledges their awareness of creating a fictional construct. Fleming offers a detailed analysis of a four-year-old playing doctors with an adult, highlighting a number of elements of theatre in the play and reaching the conclusion that “it would not be possible to provide a precise way of demarcating ‘drama’ from ‘dramatic play”.*®° This implies that the existential mode of playing also has an element of conscious fiction making. Bolton in his seminal work analysing various forms of classroom drama argues for considering “‘fiction-making’ as the defining nucleus for all acting behaviour”.’’ In this book he differentiates between three types of classroom acting behaviour: presenting, performing and making.® He defines both child play and LTD as examples of ‘making’ and lists ten features of it®? to underline his claim. Participants of LTD would be primarily offered a dominantly making mode of acting behaviour, while the lesson could include forms of presenting as well. Bolton describes making as “any dramatic exercise in which participants are free to explore without any sense of preparing for showing to someone else. It is not rehearsable nor directly repeatable”. Davis defines his approach to LTD as well in relation to making. I tend to use ‘making’ to describe the tripartite process of working for those moments of ‘living through’ that form the key moments of the experience: I am making it happen (the role building in the drama event); it is happening to me (the living through experience); 1 am conscious of it happening to me (producing the metaxis effect). The metaxis effect — being in the fictional world and reality at the same time — referred to by Davis is a central aspect of both his and Bolton’s drama. Metaxis differs from what Heathcote calls self-spectatorship’ which she sees as an outcome of her drama work. I will discuss the differences later after Eriksson: Distancing, 151. 56 Michael Fleming: Starting drama teaching, London, David Fulton Publishers, 1994, 81. Gavin Bolton: Acting in classroom drama, American edn., Portland, Calendar Island Publishers, 1999, 278. 58 Ibid., 274. 59 Ibid., 271. 60 Ibid., 274. Davis: Imagining the Real, 53. Bethlenfalvy Ádám: A legtöbb gyerek nem tudja, hogy mire képes. Interjú Dorothy Heathcote-tal, Drámapedagógiai Magazin, 31, 2006/2, 12. + 24 +
