This is a recipe for a fictional setting (temenos) wherein value conflict can play out
Accordingg to Gary Izzo (1997) temenos (fictional setting or play space) is governed by a particular set of rules that dictates what is possible and what not inside the space.
· A clearly defined subject is chosen e.g. the boom-towns of the Wild West, during the Gold Rush years of 1849—1870 (Izzo’s example). Even though the choice is very focussed, it is not limiting. A clear structure, says Izzo, provides more freedom for embellishment. (1997: 43-44)
· A specific physical location or environment is chosen that will reveal the subject. The environment must be familiar enough to the participants that it will be easy for them to relate to it and to come up with things to do inside it (1997: 44-49). For instance, the main street of a boom-town (Izzo’s choice for his Wild West event) may not be the most appropriate choice for a Grade 10 class in South Africa. They will have to identify their own environment catering for everyone in the group.
· An event is chosen to focus the action in a recognisable ritual so that participants can have an idea of who they are and how to act (1997: 49-50). In a workshop with a group of culturally mixed students, we chose a sports day at a local school as our event. Roles of parents, soccer/netball players, coaches, supporters etc. were clear and playable.
· Themes are chosen to extend the subject and to connect the characters to the environment (1997: 51). For example, in our sports event the gangster pushing drugs on the fringes of the field represented substance abuse and peer pressure. The authoritarian father who is driving his son to achieve in soccer represents pressure from parents to excel.
These rules create the distance between everyday life and the drama to ensure that participants feel free and able to act spontaneously. There are several elements of play space that create this distance. O’Neill refers to these parameters as pretext explaining that such pretext has the “power to launch the dramatic world with economy and clarity, propose action, and imply transformation” (1995: 136).
