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FURTHER EXAMINATION OF THE BONDIAN ÁPPROACH of radical innocence when it is confronted by a conflict between itself and social teaching, which social teaching cannot reconcile or conjure away", states Bond. Responding to these unresolvable conflicts are acts of creating the self, according to Bond, ? as the responder creates her stance in relation to the guestions arising from the conflict. He states that dramas subject is "society in people".?6 Bond defines the role of drama as dramatizing the human paradox and creating the possibility for the audience to respond to it.*”” In this way drama will be offering problems within the individual linked to living in society in specific situations, and by offering the audience the gap produced by the unresolvable problems, it will give them space to create their own response to it, hence a chance to create themselves. Bond is very specific in his definition of what needs to happen on stage to make this possible, he developed a set of concepts that can be used in the artistic process. I discuss these in detail in the following chapter. The central concept of my research, the Drama Event is linked strongly to the human paradox discussed above. It is the dramatic expression of the clash produced within the self between our human need for justice and the elements of the culture we live in that become ingrained in our selves. | think Bond’s theory can be used effectively in the analysis of narratives and situations used in Living Through Drama lessons. This theory can be used in defining central moments to explore with participants to open up questions concerning the complex and contradictory relationship of the individual and society. In the following section I discuss the relationship of drama and the audience through looking at the differences between one of the most influential theatre theorists of the twentieth century and Bond’s theory of drama. Bond and Brecht: the Role of the Audience in Drama As discussed in the previous chapter Brechtian distancing is a major influence on contemporary drama in education. In this section I examine what the differences between Bond’s and Brecht’s approach to drama are, as this research aims to transfer these differences into the field of drama in education as well. Any theory of theatre needs to deal with the role of the audience in relation to performance as theatre presupposes the existence of spectators. The contemporary philosopher Jacques Ranciére’s essay titled 324 Edward Bond: Commentary on The War Plays, in The War Plays, Revised edn., London, Methuen, 1991, 258. 325 Bond: Freedom and Drama, 210. 326 Tbid., 212. 327 Tbid., 211.
