Ugrás a tartalomra
mobile

L'Harmattan Open Access platform

  • Keresés
  • OA Gyűjtemények
  • L'Harmattan Archívum
Magyarhu
  • Englishen
  • Françaisfr
  • Deutschde
BejelentkezésRegisztráció
  • Kötet áttekintése
  • Oldal
  • Szöveg
  • Metaadatok
  • Kivágás
Előnézet
022_000014/0000

Living Through Extremes in Process Drama

  • Előnézet
  • PDF
  • Metaadatok mutatása
  • Permalink mutatása
Szerző
Bethlenfalvy Ádám
Tudományterület
Általános oktatás / Education, general (including training, pedagogy, didactics) (12831)
Sorozat
Collection Károli
Tudományos besorolás
monográfia
022_000014/0218
  • Kötet áttekintése
  • Oldal
  • Szöveg
  • Metaadatok
  • Kivágás
Oldal 219 [219]
  • Előnézet
  • Permalink mutatása
  • JPG
  • TIFF
  • Előző
  • Következő
022_000014/0218

OCR

CHAPTER FIVE: DATA ANALYSIS talks about a similar notion: "you first have the idea and then think it through for yourself, but then its built on improvisation so you dont know what will actually happen"."" Ihe unfolding action, the unpredictability of the improvisation was reflected on by many participants: P1: I didn’t know what my partners would say in the scene and I had to think and react on my feet. I had this feeling of not having boundaries, that we can bring anything into the situation. P2: You have to keep re-defining everything for yourself. Because the improvisation will throw you some other responses than what you had expected. P3: It was exciting that you didn’t know what will happen next.’ These quotes show that the ‘being’ mode of LTD was clearly possible within the structure offered by the framing. Though the framework for the improvisations was set in the Wild Child drama lesson, the participants felt they needed to react in the situation to the unfolding event. This issue was examined further. In the questionnaire one item asked what helped or hindered their engagement in the improvisations. Responses to what made it difficult to take part in improvisations included: “my partners in the group", "7 “my own inhibitions”,”* “we didn’t have enough time for preparation”,”” “more authentic space would have helped”’” and “I didn’t know enough about the character”.”!'! None of the respondents in the second cycle wrote that the dramaturgical structures or the frame employed caused difficulty in participating in the improvisation. There was an incident in the second version of the 1956 lesson that is worth looking at in detail, as it offers useful insight into the possible difficulties. I will look at another specific example that offers a very different perspective further on. This was an improvised situation, the last time the daughter and the father met before she crossed the border. The girl who took on the role of the father froze and stepped out of the situation. The following discussion happened in the lesson: P1: VII stop. T: Why? P1: It’s difficult. T: What’s difficult? 705 FE We. 706 Ibid. 707 Q Wd. 708 Q We. 79 Q 56B. 710 Q Wa. 71 Q Rev. + 218 +

Szerkezeti

Custom

Image Metadata

Kép szélessége
1831 px
Kép magassága
2835 px
Képfelbontás
300 px/inch
Kép eredeti mérete
943.39 KB
Permalinkből jpg
022_000014/0218.jpg
Permalinkből OCR
022_000014/0218.ocr

Linkek

  • L'Harmattan Könyvkiadó
  • Open Access Blog
  • Kiadványaink az MTMT-ben
  • Kiadványaink a REAL-ban
  • CrossRef Works
  • ROR ID

Elérhetőség

  • L'Harmattan Szerkesztőség
  • Kéziratleadási szabályzat
  • Peer Review Policy
  • Adatvédelmi irányelvek
  • Dokumentumtár
  • KBART lists
  • eduID Belépés

Social media

  • Facebook
  • Instagram
  • LinkedIn

L'Harmattan Open Access platform

BejelentkezésRegisztráció

Bejelentkezés

eduId Login
Elfelejtettem a jelszavamat
  • Keresés
  • OA Gyűjtemények
  • L'Harmattan Archívum
Magyarhu
  • Englishen
  • Françaisfr
  • Deutschde