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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. + 201 +
