과정드라마를 기반으로 한 몸으로 글쓰기

Abstract

The heart of process drama is found from the roles students (participants) play in dramatic situation which is created by drama teachers. Drama teachers are to trigger intimately connected dramatic situation in order to provoke student’s role playing activities. At this moment, students’ role-playing activities are bound to be done through the body movements, and it is the body movement that creates living fictional world. This fictional world is created through constant and interactive communication between participants, and all these processes provide vivid experience to participants. The vivid experience mentioned now provides intrinsic stimulus, which brings about changes in participants, and such stimulus is created when participants are immersed in dramatic situation. Likewise, process drama is created by dramatic actions and participants play their roles while they are immersed in dramatic situation. As a result of all these processes, a character is created. However, this does not mean the reenactment of existing character through practice but the creation of new character through role playing activities. In addition, such character creation is realized only when it is accidentally met with the creative time and space called dramatic situation which are provided by drama specialist. Such an accidental meeting with dramatic situation embarrasses participants very much and put them in an ambiguous situation. In such a situation, they are to play their given roles and create logical experience for context awareness at the same time. In this sense, process drama-based dramatic actions by participants could be considered as body writing. Process drama-based performative writing could be defined as a great simultaneous process of both aesthetic experience and integrated experience which causes logical thinking expansion. Aesthetic experience is defined as an experience which makes participants perceive given object or environment different with special attention. In such experience, participants come to make efforts to express, react and continue communication with others. Sometimes expression, reaction and communication happen independently, successively, or spontaneously, and such various and diversified dramatic experiences reconstructed and expanded participants’ experiences in a stereoscopic way.