Oldal 223 [223]
CHAPTER FIVE: DATA ANALYSIS
The reflections of this participant clearly define the scene as an improvisation.
The realisation of not knowing howto deal with the situation as it was happening
also points to an experiential mode of ‘being’ in the site. The questions of
what is significant relates to values. The state of the child, later described
by this participant as “boundary-being”, provokes these uncertainties of
values. But it is because of having to the deal with the boundary-being in
this specific situation that the knowledge from ‘classic stories’ becomes
useless for the participant. She needs to fill the ‘hole in human thinking’ and
take action. While having a strong felt memory and a clear analysis of this
situation the participant sees themselves as creators of the situation as well.
She explains that “The mirror that we placed in the space led to a similar
‘recognition’, but from the other side. Wanda begins to understand that she is
a boundary-being, she cannot be categorised, she is an outsider for humans
and animals as well”.”” The use of the mirror was a conscious decision by
the participants who created the framework for understanding more about
this situation for themselves. (Regrettably, I have not received a response or
comments from the other participant of this improvisation.)
The components that enhanced this mode of engagement of the participants
was their ownership of the situation; a clear understanding of the simple space
they designed which reflected the clash within the feral child; the awareness
and use of the centre of the story; the use of the dramaturgical structures
with the aim of creating gaps.
This example shows that participants are able to employ structures offered
and these can be used in improvisations. Being in the improvisation opened
a gap, a space for realisations, for at least one of its participants. Unfortunately,
I am unable to extract from the data what impact this improvisation had on
those watching, whether it created a rupture for them in the narrative. Also
the reflections of the other participant of the improvisation would be needed
to be able to definitely label it as a DE. The reflections of one of the participants
points to the possibility of a DE.
This incident offers a reassuring example that the direction taken presents
many possibilities. The wider creation of similar improvisations might be
enhanced if responsibilities of participants are broken down better and
they do not have too many elements to apply at the same time. The key
components in this case were the narrative and a clear understanding
of its centre; the challenge the situation imposed on the roles played by
participants; the ownership participants had of the situation they improvised
in; the conscious use of dramaturgical structures, specifically the use of
everyday objects and turning social roles upside down.
717 Ibid.
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