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CHAPTER FIVE: DATA ANALYSIS P2: Maybe they didnt know what to do, they only knew that they want to hide it. So if she puts the stone on it then maybe it is hidden. Me: But why would this young person in the tribe want to hide it? P2: Just to get rid of it, to shake the burden off. If she hides it maybe someone else can find it but ít is not stuck to her." The actions with the objects opened space to reflect on the situation, for those in it and those watching as well. One constraint I introduced during the lesson was that the boy in the improvisation should eat a clementine. This produced a different reaction: When Tomi played the last scene you said he must eat a clementine offering. They are a fairly religious tribe, aren’t they? Now the offering is in him. He himself becomes an offering. Making an offering is supposed to help them and he eats the offering, so the offering will help him as well.” The main question at the point in the narrative was what to do with the deal offered by the man in the sunglasses, and what to do with the phone that the young Kalaf found. These uncertainties were strongly reflected in the actions. Rather than the combination of the objects, which is an intellectual process, it was the eating ofthe clementine that aroused the most poetic response. Ihe sentence “he himself becomes an offering” can be understood as the clementine cathexing the young Kalaf, at least in the eye of one participant. The clementine was an offering for the Silverbird, but it also regained its fruit-ness because the boy ate it. The two layers of meaning operate at the same time and open possibilities of re-evaluation of the young Kalaf as well. Also, the sensual effect of the action could be another reason for why it produced a response of a different quality. However, the constraint remained a structural intervention, it created a problem to solve for the participant playing the role, rather than facilitated him to be in the situation and explore it through the action, which would have been the aim in the first place. While objects can be used in the drama to create opportunities for making meaning, these worked primarily in situations where the teacher in role used the object. There were examples of objects making it possible to change perspective and reflect on other roles than those taken on by participants. For objects to be used by participants in situations to achieve Cathexis they would need to have an awareness of the aim of using objects to explore situations, and also reference points like the Centre of the specific drama lesson. 646 F D2. 647 Tbid. + 196 +
