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OCR
SECOND CYCLE I conducted the drama lessons with groups that came together in different ways and in very diverse settings. I did a one-session and a two-session version of the Wild Child lesson, and researched it with four groups. I tested the student revolt lesson with one group, and the 1956 drama lesson with two groups, once in two sessions and once in one session. All details were presented in chapter four. I will now analyse the data collected in the second cycle. I first look at how the different frameworks enhanced or hindered the use of the theatre elements I included in the lessons. Then I analyse if these elements are compatible with living through improvisations and finally discuss the questions raised and the understanding generated in these lessons. What is the Appropriate Framework for the Inclusion of Theatre Components in LTD? A classroom drama is based on a collaborative process to which both the facilitator and the participants contribute in various ways. Providing the framework that allows making contributions, taking ownership of the drama for participants, but also enhancing useful learning is the facilitator’s task. The narrative employed can be one element of this framework, but other elements like space, or even a specific point of view or perspective on the situations examined can also provide the framework for the session. These elements need to be combined coherently in practice, but in my analysis I will look at them separately to examine how they help or hinder the inclusion and use of the Bondian theatre components in LTD. This separation is justified by the process of planning in which these frameworks are included in the way and to the extent the drama teacher deems appropriate depending on her priorities and aims. I will first look at what sort of framework can space and objects provide, then I will study and compare the narratives employed in my research, and finally look at the frames set up in the drama lesson in this part of the data analysis. Space and Objects As discussed before, the use of space and objects are central in Bondian drama. I wanted to explore the potential they carry as a framework for the whole drama process in this cycle and planned one version of the 1956 lesson so that the camp, which was transformed from a family summer camp into a refugee camp by the participants, offered the holding framework for the drama based exploration of the Centre: what does it mean to ‘own your life’. Besides reworking the camp participants also re-designed signs to make the layers of the history of the space visible and usable in the drama. For example, signs + 205 +
