By Monica Prendergast, Juliana Saxton
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Additional info for Applied Drama: A Facilitator’s Handbook for Working in Community
24 Section One Entering the Process What happens when we move from being ourselves to becoming others in an “as-if ” fictionalized context such as drama and theatre? How do these transformations take place and what are their effects on both participants and audiences? What, indeed, is the very nature of drama (“action”) and theatre (“the seeing-place”)? Artists, theorists, phi- Everybody has recognized that there are exercises that are necessary for losophers and writers have wrestled with these developing a group of actors.
These deeper meanings can be both intellectual and emotional and carry within them a recognition of how the fictional world may impact the personal. This empathic understanding marries insight and felt experience through the fictional role. Part of evaluation will also involve considering how the original source material was used throughout the dramatic process: How well was the integrity of the material maintained? How was it altered, shifted and changed? Evaluation can be effected in role inside the drama through such strategies as Conscience Alley or Spectrum of Difference (see Index), and through reflection out of role, by talking with a partner, in small groups or within the whole group.
As important as the drama contract is, we do wish to echo Neelands’ cautions around this negotiation. He advises not to spend too much time on this contract-building, but to 32 Building a Community see it as a work-in-progress, to remember that the facilitator is as bound by the contract as are the participants, and that the drama contract does not in itself predict successful practice (p. 28). For participants, the contract can allay very real fears around misapprehensions that dramatic process is simply another term for actor training.