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CHAPTER Two: WHAT Is A DRAMA EVENT Working towards enactment demanded a thorough analysis of the situation in reference to the Centre agreed on collectively. It meant that the situation needed to be broken down and each sentence and action needed to be analysed individually so that the contradictions between them are understood. With the help of this scrutiny the logic of the situation began to appear, there is a Clear struggle within the role that could then be portrayed through showing the decisions and choices he makes from moment to moment. Breaking down the scenes into smaller situations also helped the actors understanding the exact conditions they are in at that specific moment of the play. There are several new elements that could be incorporated into LTD work with students, like the awareness of the Centre of the narrative and reference points in the situation other those linked to character can help in creating DEs. The differences between the two modes of work are obvious as well, while in rehearsals the aim of exploring the form is self-evident it is not so in a drama lesson. In summarising this chapter on Bondian DEs I will focus on those dimension that are likely to be useful for creating DEs in LTD. SUMMARY — CATEGORISATION OF CONCEPTS AND STRUCTURES USED TO CREATE DES Edward Bond argues that art and drama should be “dramatizing the conflicts within the self” and “increasing human self-consciousness”.*?® DEs are central in this process in Bond’s work and he creates them by presenting these conflicts through “extreme situations which impose choice”.*”? These choices within DEs can be created by enacting “the articulation of the paradox, the way the self’s need for justice is misused in society”. The use of story is central in Bond’s theory. He argues that the culture we live in explains events and issues through created narratives that are presented as truths; he suggests that drama can build on the mixing of reality and fiction to highlight the fiction in our perception of reality. Bond dramatizes stories and uses DEs to “destabilise [the] rigid linearity”, of the logic of the social fiction present in the drama. Besides presenting Bond’s theory I have presented philosophical, psychological, social and art theories that contextualise his thinking. I also surveyed how different writings on Bond analyse DEs and then came to present my own analysis of two moments from different Bond plays. 88 Billingham: Interview, 3. 439 Bond: Freedom and Drama, 213. 440 Bond: The Cap, xxxiii. 441 Tbid., xl. + 116 +
