Oldal 139 [139]
OCR
CHAPTER THREE: BRINGING TOGETHER THE ÁRTISTIC AND THE EDUCATIONAL PRAXIS in the way"."? He is referring in this case to playing the situation rather than the interpretation of it which can be achieved through analysing the logic of the unfolding events and how they impact on the behaviour of the people affected by them. For the actor the task is exploring the logic of reactions to the events in the situation, and this can be developed into a DE if the reaction is logical within the circumstances but at the same time it is also unusual and creates space for meaning making. Bond suggests that it is useful to break down situations in his plays into sections, because events that happen in them change the situation itself. He points out that “this means the characters pass though different [fictional] realities and so they have to behave differently in them”.°® This proposition can make us aware of the dialectical relationship between the situation and people in the situations. It highlights the need for a constant re-analysis of the meaning of the situation and how that has been changed, as this will then impact on how people behave in them. The implications of these ideas for classroom drama are that improvisations can become an important element of exploring the logic of situations and understanding them from within. The emphasis in this case moves away from developing ‘what happens’ and exploring the ‘how’ through engaging in the fictional situation. For these explorations to be heading towards becoming DEs the fictional situations need to be developed with an emphasis on the social elements being highlighted in them, and that they are connected to social situation in the real surrounding of the participants. I continue by looking at the problems engaged in LTDs and Bond plays to find the crises that these situations can be built around as questioning values are linked to experiencing some sort of extreme. Extremes Encountered — Comparison of the Crises Engaged in LTD and Bond Plays As I pointed out in the first chapter, the key connection between the different crises encountered by participants in the examples of LTDs discussed was how they impact on the roles taken on by the students. In all cases the participants in roles had to deal directly with the crisis that was unfolding in the fictional situations they were part of. In one of her first articles Heathcote claims that “drama is human beings confronted by situations which change them because of what they must face in dealing with those challenges”.° This definition is valid for all the examples analysed but the fictional roles need to relate to the developing crisis as well and their actions need to have an impact 502 Ibid., 139. 503 Bond: Email to Ádám Bethlenfalvy, 1. 504 Heathcote: Improvisation, 48. + 138 +
