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LIVING THROUGH DRAMA AND BONDIAN DRAMA the experience verbally. Ihe problem of trivialising learnings and teacher pleasing both come up as possibilities in this case. It is also guestionable if the rational learning will be incorporated in any way into their actions. O’Neill claims that re-characterising participants as both “actors” and “audience” strengthens “the elements of reflection and contemplation”.*” Fleming differentiates between three different ways of switching from “actor” to “spectator” in drama work, including individual participants momentarily changing to observing, and also what he calls “percipients”,” the observer element that is part of making drama. O’Neill also states that process drama “like any play, includes moments of intense ‘living through’ experience, reflective or contemplative passages, the manipulation of time both backward and forward, changes of pace and tempo, and episodes of greater or lesser tension and intensity”.*”® Perhaps it is in the interplay between these elements that reflection from within a ‘making’ mode of participation needs to be analysed. Bolton state that metaxis gives a “reflective edge to the role-play which direct experience often lacks”. Though the deeper exploration of this concern would demand a research focussed on this issue, the understanding created by participants as an outcome of the research lessons is analysed, reflecting on this issue to some extent, as part ofthe data analysis. After having discussed two different approaches that contextualise the directions I aim to develop the LTD practice in and examining six issues raised in relation to LTD, some of which will be revisited in the data analysis and the final chapter of my thesis, I look at the points of connection with Bond’s theory before offering a summary of aspect of LTD I rely on in my research. LIVING THROUGH DRAMA AND BONDIAN DRAMA Edward Bonds commitment towards theatre in education and drama in education is obvious from his intensive collaboration with Big Brum Theatre in Education Company and a number of keynote speeches he made at different conferences of the National Association for the Teaching of Drama. His engagement with this field is based on a number of common aims and practices between his work and that of certain drama education specialists. Davis has been one of those specialists who has played a crucial role in connecting Bond’s work with the field of drama education. Bond’s theory is 213 O’Neill: Drama Worlds, 125. 24 Fleming: Starting drama teaching, 16. 25 O’Neill: Drama Worlds, 56. 26 Bolton: New perspectives, 32. + 63 +
