Drama Boreale - Åbo Akademi

attention to. The communication and sensitivity in this phase is important for work that
follows. In the next five phases the students go from exploring a theatrical situation to
themselves being participants in the fiction. I identify the framings by title in the
following way:
1. At first sight – the very first meeting between the company and the students in
the classroom. (The rest of the programme takes place in the school
lunchroom).
2. Cross-linking – two frames cross when a tableau of Prospero is closely
examined by the students. 8
3. Listening – when sounds from Milan's marketplace enter Prospero's room.
4. Meta discussion – when rules for discourse are discussed.
5. Ritual – the drama tradition's framing – when transfer of a role via a medallion
finds place.
6. Meeting in fiction – when the scholars are having their scholarly discussion
about Milan's hierarchical structure – before they get to hear Prospero tell about
his life – and they shall be his advisors.
In the analysis I have examined what is at play in the various frames, how the various
participants appear, and how they master their position and their means of expression in
the framing. It is also important to read how the actor teacher's challenges become
apparent in the framings.
The topology of the framing of the TIE programme is thus studied on the basis of
Goffman's studies of social contexts. The appearance of fiction in the framings varies
over the course of the programme and fluctuates between being central, of indirect
importance, more peripheral or completely absent.
I will use the 4th framing - Meta discussion as an example. In this framing the fiction
element is not physically present, but present as a subject for discussion. Meta discussion
revolves primarily about giving the students information about a fictional order
consisting of scholars that Prospero would like to get advice from. Next follows a
discussion about some given rules, which the facilitator presents. The facilitator is the
one of the three actor teachers that chooses to take on the function as adapter, organizer,
narrator or intermediary between fiction and nonfiction. The facilitator pulls out a large,
patina coloured paper scroll with a ribbon around it – rolls it out and presents the rules.
The facilitator takes her time and the six rules are 1.A good scholar is a good listener to
interpreted and discussed thoroughly – one after the others
other. She accepts and enlarges the students’ 2.A good scholar waits for his turn to
contributions through repetitions. The facilitator's speak
particular style is highlighted and underscored 3.A good scholar thinks before he speaks
through varying the use of voice and intonation. She 4.A good scholar is not quick to
repeats shortly after the student statements and judge others
continuously asks new questions in response to the 5.A good scholar wishing to speak
student contributions. What is characteristic of her must stand up
style is that she dares to spend time – dares 6.A scholar addresses others in the
debate with “Fellow scholars”
8 I have elaborated the second framing in detail in the article “TIU i retorisk perspektiv – et
analyseeksempel” [“TIE in rhetoric perspective – an example of analysis”] in Rasmussen (ed.)
2007: Drama Boreale 2006.
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