Thanks for your clarifying reply.
You made me feel very curious about your text. Is it in your next book?
I ask you to visit my current website. It's very "primitive". I used office XP tools myself to present small instructional texts on theater teaching in first grades, based on Viola Spolin's theater games system - and how it has been adapted to a pedagogical frame in brazilian school education by brazilian theater-education researchers.
It's written in Portuguese. But Portuguese is very close to Spanish.
I believe improvisation is the principle without which it is not possible a truthly appropriation of theatrical language, or a truthly interaction between people in classroom.
Ricardo Japiassu
http://www.ricardojapiassu.pro.br
-----Mensagem original-----
De: ksawyer@artsci.wustl.edu <ksawyer@artsci.wustl.edu>
Para: xmca@weber.ucsd.edu <xmca@weber.ucsd.edu>
Data: Segunda-feira, 3 de Junho de 2002 18:57
Assunto: Ricardo's questions about my improv example
Ricardo, I'm glad that you liked the example. In response to your questions:
They were two different ensembles. And when I said "narrative structure" I
perhaps should have said "dramatic structure" or "frame." In fact, the
emergent frame isn't much like a conventional narrative.
The differences between the two frames are, as I said, that one of them
emphasizes plot and the other emphasizes character and relationship. For
example, the former performance has four plot lines whereas the latter has only
two; and the former performance has only 1 developed relationship whereas the
latter has 11.
I explain why this would be expected, even though the actors do not intend it
to happen, based on the differences in communication technique available to the
actors, and I demonstrate the emergence of this frame information by tracking
when this information enters the frame during the course of the 60-minute
performance; and I demonstrate downward causation by showing how individual
actor's actions are altered in response to the emergence of the frame.
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