Oldal 120 [120]
SUMMARY — CATEGORISATION OF CONCEPTS AND STRUCTURES USED TO CREATE DEs
from Bond, in which he explains that DE are “the setting up of a situation
and that very often means taking away something that the people would
expect to be there or putting something there that they would not expect to
be there. So you disturb the expectation. It is a bit like if you went into one of
your rooms you knew about and something was not the furniture you would
expect”.*” I will now continue by summarising the Bondian devices that can
be used to create DEs in performance. I explore the possibility of using these
structures in my drama lessons.
Using the Bondian Devices to Create Drama Events
In his writings Bond offers a number of concepts that can be used to create
DEs in performance. The overriding aim of breaking down situations into
smaller units, and events into particular lines and actions, and being very
specific in the aims of the actions is a necessary starting point in the process
of creating DEs.
Centre: It is also important to analyse the overarching meta-text of the play
and define what Bond calls the Centre, the subject that is engaged in again and
again through the different situations and that each role takes to its extremes.
Each performance can identify an aspect of the Centre for itself based on the
close reading and analysis of the text, and this can be used by those acting as
a reference point in opening gaps for the audience through DEs.
Enactment: The concept of Enactment refers to the presence of the actors,
who need not build the fictional characters but aim for a personal presence and
a focus on being in the situation. Enactment of actions and a special attention
on how the objects can be used in those situations can help the audience
engage with the problems explored in the situation.
Cathexis: The term Cathexis is used by Bond to refer to the change in
the value of the objects through the way they are used in the situation. While
the play itself offers the objects, it is the task of the actors to use them in ways
that they remain within the logic of the situation, but also offer possibilities
for the audience to re-evaluate their value and meaning.
Site: The concept of Site encompasses all of these concepts. The four layers
of Site connect the contemporary social reality and the fiction of the drama.
The fictional story and its Centre need to be opened up through the DEs for
the audience’s imagination in a way that those watching are driven towards
their imagination seeking reason in response to the event happening rather
than using generally accepted answers to the problems investigated.
447 Amoiropoulos: Balancing Gaps, 314.
+ 119 +