The last thought of Vygotsky in the "creativity" paper Mike posted a
few days ago is:
"The experience of the actor, his emotions, appear not as functions
of his personal mental life, but as an objective, social sense and
significance that serves as a transitional stage from psychology to
I've attempted to unpack this string of clauses:
1) The actor's experience in acting is reflected in her/his emotions
2) The emotions are not associated solely with the individual but
more with the individual acting in a social context
3) The actor's emotions are meaningful (to the actor and to others)
4) The activity of acting mediates the actor's consciousness
In these, my own words, there is a good theoretical basis for "play".
I'm restricted to the language classroom for my own examples; I'd
love to hear, as Lois called for, some other examples of "play". And
Volker's reference to "play" vs "serious talk" is interesting.
On 11/12/2005, at 8:14 AM, Volker.hippie wrote:
> Yes, and from Lois Holzman I learned that performing to teach is
> much more fullfilling than just teaching.
> The other day one leader (a client) phoned me, where he asked:/
> Could we instead of doing "supervision" again play, like last time,
> we worked together, where we played a form of "that's my ridiculous
> life"? My staff was so happy, afterwards, last time.
> Yes/, and I think, wow, now the leader has catched the idea, that
> performing and playing is a (better) way of learning than all this
> serious talk.
> Yes, and Phil, you are right, is is about learning, or practicing
> new language games (it is here Wittgenstein is helpful to read
> together with Vygotsky).
> Phil Chappell wrote:
>> Dear All,
>> This is an intriguing notion that I would love to hear more about.
>> It certainly resonates with learning another language...
>> On 09/12/2005, at 11:05 PM, Lois Holzman wrote:
>>> I feel that whatever success I have in intellectual activities
>>> has to do
>>> with learning to relate to it as play.
>> xmca mailing list
> xmca mailing list
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