Oldal 141 [141]
OCR
CHAPTER THREE: BRINGING TOGETHER THE ÁRTISTIC AND THE EDUCATIONAL PRAXIS the ontological human need for the world to be a just place where we can feel at home and peoples existential needs that have to be met in unjust societies is contextualised and situated by Bond; this contradiction forces people into choices between the two and these become extreme when placed in specific situations within bigger narratives. These contradictions are expressed in recurring themes and motifs in different Bond plays. The recurrence of violence and revenge as central themes; the presence of babies and children who are vulnerable to their social surrounding in different ways; in many plays we find the contemporary re-description of classic cultural tropes and narratives that engage in fundamental human problems; or the various forms of the outside world appearing within the personal space are all elements that reflect this central concern of Bond. As I am researching the possibility of creating DEs in drama in education lessons I have to look at possible ways of incorporating the Bondian approach to crises at the centre of my drama lessons. This approach does not restrict the choice of the problem engaged in, rather it requires a specific analysis of the problem so that it becomes possible to identify where the paradox created by the clash of the ontological and the existential is present and how that can be brought into the centre of the situation engaged in. The questions to be explored in this analysis of a problem are: a) What is the fundamental human need expressed in the story/situation? b) How are these human needs manipulated by social narratives? c) How can the conflict between the two be expressed in concrete actions in specific situations? There are several other questions and issues too that need to be taken into consideration in the setting up ofa situation that is at the centre of a Bondian Living Through Drama, but these questions can be used to help in the selection of the story that can be developed into a drama lesson. The question of how extreme situation impacts on the participants of drama lessons and what makes a situation extreme for them is something investigated further in the analysis of the research lessons. I continue by looking at which theoretical devices the facilitator can rely on from the two field to enhance ‘being’ in the fictional world for participants. Concepts Used in Structuring Drama Different tasks can be used in both drama lessons and rehearsal process to enhance stepping into and ‘being’ in fictional situations. The examples in the first chapter show a variety of forms used like discussion, drawing, + 140 +
