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SECOND CYCLE to change people with drama?" While other guestions are guite personal, like: "Will I ever be able to direct if I just get lost watching and admiring people?”.”” An important question concerning the framing of participants outside the story is whether it creates a distance in engaging with the problems posed in the narratives. It seems from the responses quoted that the centre offered a useful point of reference in creating and in observing scenes. Framing participants as co-researchers of drama presented the opportunity to perceive themselves as active creators. I have not found any evidence that the frame created distancing when I analysed the living through improvisations; I investigate improvisation in the drama lessons in the next section. Though framing the drama as an exploration of a central idea and of theatre forms and structures has a lot of positive impact my reflective diary notes highlight a problem that I struggled with through the research. A concern noted after two lessons’ was that it was time consuming and caused difficulties in time keeping during the lesson. This problem can be addressed perhaps in longer processes, but is a dimension that needs to be considered in relation to the positive features it can bring to the lessons. Following this analysis of different framework’s relationship to the explicit inclusion of dramaturgical structures and concepts to be used by participants in the lessons I will look at how these impact on improvisations, the central components of the living through approach. Is Improvisation and the Conscious Use of Theatre Structures Compatible? Improvisation is a central element of LTD. In the first cycle of research I found that Bondian Enactment demands the conscious use of structures that enhance the exploration of the situation. I aimed to make Enactment possible by offering tools to participants that they can use in the improvisations. The question arising from this is twofold; one question is whether the conscious use of these tools allows the experiential ‘being’ mode in these situations, while the other question is whether they produce Enactment, a conscious exploration of the situation by participants in these living through moments. One dimension that the inclusion of structures possibly brought to the improvisations was pre-planning by participants. One focus group participant said “you really need imagination to see the whole in one piece. I went through it in my mind first, trying to work it out and then I tried it in the scene, to see if it works”.”* Another participant in another lesson 702 Q Wb. 703 RD_Wa; RD_Wd. 704 F 56B.
