Keith -- I loved your example, too.
The first parallel I thought of was of the role of minority caucuses within a
union. I can think of two building trades unions as examples. If one is trying
to change the direction of policy within a union (change the plot) it is more
effective to have an organzation within the union (an out-of-character group)
that can comment on and influence the plot. This would be a minority caucus of
some sort -- black, Hispanic, women's, etc. When members of minority groups
are dispersed as individuals within the group, the relationships may be more
highly developed but their power to influence policy goes down. There are
implications for collective action here.
Thanks -- Helena
Ricardo Japiassu wrote:
> > Using both qualitative and quantitative analyses, I show that (1) these
> > interactional differences result in the emergence of unintended effects in
> > the types of narrative structures that are generated. The in-character
> > group ends up with more complex characters and relationships; the in- and
> > out-of-character group ends up with more complex plot lines but relatively
> > simple characters and relationships. I use a theory of the metapragmatics
> > of discourse to explain why this happens. (2) Once these structures have
> > emerged, I then show that they have different causal effects on actor's
> > discourse moves in individual turns, and that these effects increase
> > throughout the performance, as the dramatic frames become more elaborated.
> >
> > R. Keith Sawyer
>
> Very interesting!
>
> Were the same actors (the same troup) interacting mediated by theatrical
> language in the two different improvisational proposals - better: Were the
> two proposals performed by the same actors?
>
> Would you please make clear the differences pointed by you in respect of
> your first (1) attemption? I mean, the interactional differences you reffer
> to - once the two groups were mediated by the same activity: theatrical one.
> Were you, there, reffering to the distinct "narrative structures" using the
> theatrical language?
>
> I put this because, my thinking is that dramatic gender is different from
> the narrative or epical one. Although one can speak of a dramatic gender
> with a narrative nature or structure (Brecht's plays).
>
> Ricardo Ottoni Vaz Japiassu
> Professor da Universidade do Estado da Bahia-Uneb X
> http://sites.uol.com.br/rjapias/
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