Schmidt2021
| Schmidt2021 | |
|---|---|
| BibType | ARTICLE |
| Key | Schmidt2021 |
| Author(s) | Axel Schmidt, Arnulf Deppermann |
| Title | Instruieren in kreativen Settings - wie Vorgaben der Regie durch Schauspielende ausgestaltet werden |
| Editor(s) | |
| Tag(s) | EMCA, Instruction, Creativity, Theatre, Acting, IRE-sequences, Theatre rehearsals, Multimodal interaction |
| Publisher | |
| Year | 2021 |
| Language | German |
| City | |
| Month | |
| Journal | Gesprächsforschung - Online-Zeitschrift zur verbalen Interaktion |
| Volume | 2021 |
| Number | 22 |
| Pages | 237–271 |
| URL | Link |
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| Howpublished | |
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Abstract
Instruktionen sind darauf angelegt, ein festgelegtes Ergebnis zu erzielen, v.a. in instrumentellen Arbeitskontexten oder Lehr-Lern-Settings. In kreativen Settings dagegen existieren häufig keine klar definierten Lerninhalte. Das Endprodukt und der Weg dorthin werden vielmehr bewusst offen gehalten, um Kreativität zu ermöglichen. Trotzdem machen Instruktionen auch in kreativen Settings einen Großteil der Äußerungen aus. Wir zeigen an zwei typischen Fällen aus Theaterproben, wie Instruktionen in kreativen Settings Neues hervorzubringen vermögen. Regisseur*innen arbeiten mit relativ offenen Rahmeninstruktionen, die von Schauspielenden in Folgehandlungen auszugestalten sind. Instruierte Handlungen haben so ein hohes Potenzial an Eigeninitiative und liefern die Grundlage für Regisseur*innen, um Aspekte des vorgängigen Spiels der Schauspieler*innen affirmativ aufzugreifen, die sie selbst zuvor so nicht instruiert haben. Diese Selektionen der Regie greifen einen Teil des dargebotenen Schauspiels auf und machen es für das zukünftige Handeln verbindlich. Unsere Studie untersucht, wie Instruktionen Folgehandeln evozieren, auf das sie selbst wiederum aufbauen. Grundlage ist ein Korpus von 800 Stunden Videoaufnahmen von Theaterproben.
English: Instructions are designed to achieve a predetermined result, especially in instrumental work contexts or teaching and learning settings. In creative settings, however, there is often no clearly defined learning content. On the contrary, the end product and the path to it are deliberately kept open to enable creativity. Yet, instructions make up a large part of the actions in creative settings as well. We analyze two typical cases from theater rehearsals, showing how instructions in creative settings can produce something new. Directors give rather open initial instructions, which have to be developed by actors. Instructed actions are worked out by the actors on their own initiative. Directors, in turn, select aspects of the actors’ performance that was not previously instructed and make it obligatory for future acting. Our study examines how instructions elicit actions on which next instructions build upon. The study draws on a corpus of 800 hours of video-recorded theater rehearsals.
Notes
Instructions are designed to achieve a predetermined result, especially in instrumental work contexts or teaching and learning settings. In creative settings, however, there is often no clearly defined learning content. On the contrary, the end product and the path to it are deliberately kept open to enable creativity. Yet, instructions make up a large part of the actions in creative settings as well. We analyze two typical cases from theater rehearsals, showing how instructions in creative settings can produce something new. Directors give rather open initial instructions, which have to be developed by actors. Instructed actions are worked out by the actors on their own initiative. Directors, in turn, select aspects of the actors’ performance that was not previously instructed and make it obligatory for future acting. Our study examines how instructions elicit actions on which next instructions build upon. The study draws on a corpus of 800 hours of video-recorded theater rehearsals.
