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CHAPTER FIVE: DATA ANALYSIS
to participants step-by-step. As could be seen in the example of the mirror and
the feral child, participants were able to use the concepts and structures in
improvisations they created within the drama lesson, but there is not enough
data to confidently decide whether it was a DE. The responses of participants
showed that the narrative and the approach to drama taken in the second
cycle opened profound questions on a personal level and also concerning
social reality.
In the next section I bring together the results of the first and second
chapter, presenting the findings of my action research. This is followed by
reflection on the research methodology used.
FINDINGS OF THE TWO CYCLES OF ACTION RESEARCH
This action research set out to investigate if it is possible to create Bondian
Drama Events in Living Through Drama. Following the analysis of two
cycles of empirical research I am not able to provide a definitive answer
to this question. However, new possibilities have been explored related to
the connection of the two fields and these have provided understandings that
could be used to create DEs in LTD in the future.
The major finding of the first cycle of my research was that participants
need some conscious understanding of the concepts and structures that make
it possible to create a Drama Event to be able to use them in improvisations.
The central outcome of my second cycle of research was that the framing of
participants to be aware of these concepts and structures does not hinder their
participation in living through improvisation and enhances the possibility
of them creating Drama Events in scenes and possibly in improvisations as
well.
I will list further findings I have come to in the two cycles of the research,
in each case they will be followed by a short explanation.
1) An awareness of the theatre concepts and structures, besides
enhancing engaging meaningfully in classroom drama, can heighten
the understanding of participants of drama as an art form, and help
participants see themselves as makers of drama.
Though! explored Bondian concepts and structures there was a clear indication
in the feedback from focus groups and questionnaires that participants
generally enjoyed and appreciated thinking about drama as a form of art, and
cherished engaging in questions concerning form and content with the aim
of creating meaningful art.
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