Oldal 63 [63]
OCR
CHAPTER ONE: LIVING THROUGH DRAMA structure with experience. [...] Sometimes for the living through to work well, it needs a kind of script that the teacher needs to write in his or her head, and I think this is particularly so if you want an ideological dimension to it. My understanding of Fleming’s statement is twofold. In the case of a not prestructured LTD lesson Fleming is referring to the teacher writing the drama on their feet, finding forms and a structure which the participants can inhabit successfully and that creates a meaningful relationship between content and aesthetic form. This demands a person with a strong artistic and pedagogical vision, and it is useful to keep questioning whether the participants still feel if it is their drama. When the teacher is working through a prepared structure to create the LT moments of the drama, it can be a question ifthe participants have enough freedom of choice, whether the situations investigated are concerns of the teacher or the participants. This issue can be raised about other forms of drama as well. I examine one aspect that is most connected to LTD of this complex issue in my research; the relationship of influencing the narrative and enjoying the drama lesson is analysed further in chapter five. Metaxis and Reflection in LT Drama In his afterword to Davis’ book Fleming raises the question about the manner of reflection in LTD: “I think there is more work to be done in distinguishing the reflection that is acknowledged as being part of metaxis in living through drama from the reflection that is part of more distanced modes of working”.”!° Earlier I quoted Fleming’s comments on thought-tracking, a popular reflective convention, which can easily become anti-theatre. There seems to be a contradiction between artistic and pedagogical aims here, as reflection works against artistic aims in this case. Bolton differentiates between three types of reflection: personal, universal and analogues and proposes that “perhaps the most powerful form is the reflection that goes on at the same time as the drama, that is from within the drama, so that as things are happening [...] their implications and applications can be articulated legitimately as part of the drama itself”.7!! Morgan and Saxton differentiate between reflection ‘in role’ and ‘out of role’ which should be distinguished from reflection in context and out of context.?!? In convention based reflective tasks the participants would often explicitly articulate their learning from 209 Fleming: Interview. 210 Michael Fleming: Afterword, in David Davis: Imagining the Real: Towards a New Theory Drama in Education, Stoke on Trent, Trentham Books, 2014, 169. 211 Bolton: Towards a theory, 127. 22 Morgan-Saxton: Teaching Drama, 150. 62 e
