> 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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