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Theateraufführungen sind ohne Zuschauer nicht denkbar. Zugleich erweisen sich Proben aber als öffentlichkeitsabgeschirmte und intime Vorgänge, da eine (zu frühe) Orientierung an möglichen Publikums-Effekten den kreativen Prozess stört. Auf der Grundlage von über 30 Stunden Videoaufnahmen von Theaterproben zeige ich an ausgewählten Ausschnitten, wie Theatermachende sich sprachlich und körperlich im Probenprozess auf das Publikum beziehen, wie dies interaktiv realisiert wird und welche Rückschlüsse das auf die Weisen der Publikumskonstruktion im Kontext von Proben zulässt.
Wie ein Event zum Event wird
(2000)
Our study deals with early bodily responses to directives (requests and instructions, i.e., second pair parts [SPPs]) produced before the first pair part (FPP) is complete. We show how early bodily SPPs build on the properties of an emerging FPP. Our focus is on the successive incremental coordination of components of the FPP with components of the SPP. We show different kinds of micro-sequential relationships between FPP and SPP: successive specification of the SPP building on the resources that the FPP makes available, the readjustment or repair of the SPP in response to the emerging FPP, and reflexive micro sequential adaptions of the FPP to an early SPP. This article contributes to our understanding of the origins of projection in interaction and of the relationship between sequentially and simultaneity in interaction. Data are video-recordings from interaction in German.
In so-called Let’s Plays, video gaming is presented and verbally commented by Let’s Players on the internet for an audience. When only watched but not played, the most attractive features of video games, immersion and interactivity, get lost – at least for the internet audience. We assume that the accompanying reactions (transmitted via a so-called facecam) and verbal comments of Let’s Players on their game for an audience contribute to an embodiment of their avatars which makes watching a video game more attractive. Following an ethnomethodological conversation analytical (EMCA) approach, our paper focusses on two practices of embodying avatars. A first practice is that Let’s Players verbally formulate their actions in the game. By that, they make their experiences and the 'actions' of avatars more transparent. Secondly, they produce response cries (Goffman) in reaction to game events. By that, they enhance the liveliness of their avatars. Both practices contribute to a co-construction of a specific kind of (tele-)presence.
In theater as a bodily-spatial art form, much emphasis is placed on the way actors perform movements in space as an important multimodal resource for creating meaning. In theater rehearsals, movements are created in series of directors' instructions and actors' implementations. Directors' instructions on how to conduct a movement often draw on embodied demonstrations in contrast to verbal descriptions. For instance, to instruct an actress to act like a school girl a director can use depictive (he demonstrates the expected behavior) instead of descriptive (“can you act like a school girl”) means. Drawing on a corpus of 400 h video recordings of rehearsal interactions in three German professional theater productions, from which we selected 265 cases, we examine ways to instruct movement-based actions in theater rehearsals. Using a multimodally extended ethnomethodological-conversation analytical approach, we focus on the multimodal details that constitute demonstrations as complex action types. For the present article, we have chosen nine instances, through which we aim to illuminate (1) The difference in using embodied demonstrations versus verbal descriptions to instruct; (2) typical ways directors combine verbal descriptions with embodied demonstrations in their instructions. First, we ask what constitutes a demonstration and what it achieves in comparison to verbal descriptions. Using a typical case, we illustrate four characteristics of demonstrations that all of the cases we studied share. Demonstrations (1) are embedded in instructional activities; (2) show and do not tell; (3) are responded to by emulating what was shown; (4) are rhetorically shaped to convey the instruction's focus. However, none of the 265 demonstrations we investigated were produced without verbal descriptions. In a second step we therefore ask in which typical ways verbal descriptions accompany embodied demonstrations when directors instruct actors how to play a scene. We distinguish four basic types. Verbal descriptions can be used (1) to build the demonstration itself; (2) to delineate a demonstration verbally within an instruction; (3) to indicate positive (what should be done) and negative (what should be avoided) versions of demonstrations; (4) as an independent means to describe the instruction's focus in addition to the demonstration. Our study contributes to research on how embodied resources are used to create meaning and how they combine with and depend on verbal resources.