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SECOND CYCLE
The Bondian Structures and Concepts Offered to Participants
Based on the first cycle of research I identified three important components
of the Bondian theory and practice that could enhance the creation of
DEs by participants within the drama lessons. One of these was the basic
understanding of the aim of creating theatre or drama. The second component
was the specific Centre investigated in that drama lesson. The third component
were specific dramaturgical structures and strategies employed by Bond as
a playwright in the text of dramas. I will offer the rationale behind choosing
these three and give a short explanation of them here.
As described previously, the acting behaviour of participants in individual
improvisations of the first cycle often relied on a demonstrative mode of
behaviour. Following the analysis of these moments I reached the conclusion
that an understanding of the purpose of improvisation and being in the drama
could enhance a more focused exploration of the narratives and situations
in the drama lesson. Therefore, in this cycle of research I tested offering
a summary of the purpose of dramatic exploration. The length and the form
of this explanation varied in different drama lessons but the following
thoughts were at its centre: I explained that according to some we rely highly
on widely accepted narratives in understanding events and incidents in our
daily lives, leaving little space for creating our own understanding of these;
but according to some artists drama can offer the possibility to open space,
create gaps that allow the free interpretation of events for participants and
audiences alike. This nutshell version of the theory elaborated in chapter two
was offered as one possible approach to theatre and drama, but one that was
at the centre of the thinking behind designing the drama lesson and also
the research that participants had willingly joined.
I discussed the concept of Centre previously. In my analysis of the first
cycle I came to the understanding that the conscious use of the specific
Centre of the drama lesson as a reference point by participants could enhance
the possibility of creating gaps in scenes and improvisations of the classroom
drama. There were differences in the extent the Centre offered was discussed
and examined together with the participants, but in each lesson of this
cycle I offered a question or sentence that could be used as a reference point
throughout the session. I offer specific examples as part of the analysis.
Bolton points out that in the making mode of LTD “the responsibility of
each participant is that of the dramatist/actor/director/spectator”.? As I am
aware of Bond using particular dramaturgical structures in his plays I decided
to test if the knowledge of these structures can help participants create DEs in
their function of ‘dramatists’ within the improvisations. I offered participants
657 Bolton: Acting in Classroom Drama, 271.
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