Seite 215 [215]
OCR
CHAPTER FIVE: DATA ANALYSIS lots of other kids feel like that too". In whatever way participants position themselves in relation to the child they were engaged in the contradictions the protagonist posed. Most participants were in role as helpers, so they could explore their relationship further in situations. While the improvisations between the father and the daughter in the 1956 drama, and the student revolt leader and the PR person in the student revolt drama were primarily discussions or arguments, the improvisations in the Wild Child drama offered more space for action in the role as can be seen in the screenshot of an improvisation in one of the lessons." The participants had decided to teach the feral child to eat properly first, and use her hands rather than eating from the floor, but they struggled, as can be seen from the photos. I will return to the analysis of the mode of being in these situations later. The intention in structuring the first two narratives was to “get to pair improvisations where participants can unmask each other’s narrative with the use of the dramaturgical structures”, but the improvisations did not seem to give enough opportunities to do that. In the case of the Wild Child the contradiction was not in the two roles opposing each other, but within the helpers, as can be seen in one of the questions posed “is it good if we take this girl out of nature and put her into society? What is good and what is bad in what we teach her?”.°”? The fundamental human problem posed in this narrative, together with the questions that it raises within the role offered to participants, and the potential of ‘doing’ in the scenes and improvisations offers a productive framework for the incorporation of Bondian tools in the lesson. I explore the improvisation parts of the narratives of these drama lessons further on to see whether they are compatible with the conscious use of theatre structures by participants, but before that I investigate how framing can enhance the use of these drama constructs. 689 F Wd. 690 V2 Wa. 691 RD Rev. 62 Q Wa. + 214 +
