This in turn requires the theater practitioners to mobilize their understanding of the social world and make it intersubjectively accessible to each other. By studying the practice where the participants discuss the parts of the performance, he shows how the nuances of everyday interaction are actively scrutinized and the formation of social actions is modified during the theater rehearsals. Similarly, Schmidt (2018) explored the rehearsal period and the interplay between fleeting and enduring resources of interaction in the temporal organization of the play.
In addition, Broth (2011) has analyzed audience reactions such as laughter during the performance and the way audience members negotiate these collective actions with each other and in relation to the course of the play. However, where the previous studies have focused on the interaction between the actors and the audience or the making of the theater performance, in this article we will focus on the actual performance. One of the play's core themes and storylines is the staff's cooperation during training.
From the point of view of social interaction, the elemental quality of teamwork is that it involves more than two participants. This includes, among other things, music and other rhythmic elements that can be used to synchronize the actions of the participants. Our study therefore contributes to the overall understanding of socially and politically oriented theater as a distinct social environment and the means and practices it employs when working out the aspects of contemporary societal issues.
At first we treated the latter as separate components of the scenes and extended our investigation only to the point where they began.
Analysis of the representation of teaming up
Transitions to collective action
However, as he begins to walk while producing a definition of 'team' (lines 4-5), several workers follow him. In this way, they actually carry out the essential content of the consultant's definition, a self-initiated, collective action, which nevertheless conforms to the views of the superior. The extract shows how the synchronization of action that began to appear in the form of coordinated walking of the workers (cf. De Stefani and Mondada, 2014) during the consultant's initial turns is strengthened step by step as the episode unfolds.
Instead, he uses the sequential position of the answer to introduce his own agenda into the conversation and to begin the motivational talk – yet make his turn appear topically related to the previous conversation. First, the consultant touches Ansa (line 8) – the use of the haptic modality brings a new level of intimacy and affection into the activity (see Cekaite and Holm Kvist, 2017). Furthermore, there are changes in the prosodic and linguistic features of the consultant's speech, shown in the use of a loud, ecstatic voice, but most of all.
While these characteristics display the consultant's own heightened emotional involvement (cf. Selting, 1994) in the activity, they also function as an invitation for the recipients to participate in the same way. On line 15, however, one of them explicitly does so through both embodied and verbal means – the nimble hand movement, the loud repetition of the consultant's words and the turn-initial kylla 'ja' (see Hakulinen, 2001) indicate her new unconditional adherence to the training. After receiving unquestionable support from one of the workers, the consultant proceeds with the training.
By doing so, the consultant also legitimizes his role as an expert who can claim about the reality and inner state of the workers (lines 16-19). However, this time it happens with apparent ease (line 19), and later, with an increasing number of employees participating in synchronous action (line 21) - the verbal exclamation and its distinct prosodic features are eventually repeated by all ( line 21) with the help of easily designable list structure. In the show, these changes in the organization of joint action show the effect of training, namely, the birth of a collective actor, a team.
In this light, the cooperation of the employees and the joint monitoring of the consultant also seems problematic: the employees seem to have lost their ability to interpret the ongoing activity and act accordingly. However, they differ from the first episode in the length and complexity of the sequence leading up to the musical piece. In the final episodes, the sequence becomes faster and simpler, which in the context of the play indicates the socialization of the workers into new conventions created by the training.
The workers, in turn, begin to repeat the consultant's verbal and embodied actions almost instantaneously collectively (rules. In short, the multiple changes within the transitions to collective action therefore have to do with growing pace, volume and grandeur of the action that indicates ' a new kind of affective involvement of both the consultant and the workers, the ongoing ease.
Collective action during singing and dancing
The score of the interlude 'Alles is alles' (figure C) makes clear the high degree of complexity and unpredictability in the segment. There is a change in time signature from the four-four beat to a six-eight beat. In the context of the piece, what is performed on stage seems so complex and unpredictable that its management seems to necessarily require an outside actor. being a leader.
However, in the show, this presentation is realized in different ways, as can be seen from the following example. When a girl is good and gives it her all,” with various equivocal messages (eg, stock price curves rising, sticks slipping, and dividends falling into laps) and erotically suggestive dances. After all this, the last part of the song consists of a rendition of the production line of the muesli bar factory 'in action' (Figure A).
The musical score of the segment (Figure B) sheds light on additional reasons for the high level of projectability (cf. Machin, 2013). The melody is constructed in a way that projects its continuation: in the last bar of the line, after the notes c2 and a1, it is quite natural to continue the pattern of descending thirds, which again leads to. Furthermore, the impression of an infinite loop is emphasized by keeping the same chord as a continuous organ point in the bass part.
With all these semiotic means, the segment creates a vision of the endless activity of muesli bar production. This example can also be seen to represent the fulfillment of one ideal of teamwork – the notion that a team is able to produce results without the interference of a leader. Above all, there are some differences in the way each worker (or muesli bar) jumps off the production line at the end of the process.
Therefore, although all workers sacrifice themselves—on the altar of the deadly routine of capitalist production—there may be individual differences in the exact ways in which each worker achieves this. In this scene, the individuality of the ex-workers on stage is also emphasized by the different. In the light of this last scene, where the similarity between the behavior of the individuals is based on shared experiences, the previous forms of increased collective activity appear as empty and artificial - as periods when the collective character of behavior is obtained from the outside.
Conclusions
Therefore, even if the individuals here no longer constitute a team in the usual sense, their shared tragic experience nevertheless leads them to behave as if they still constituted a collective. Whereas group work in real life normally takes place within the framework of the sequence, with speakers taking turns. However, what our study has shown is that even the moments of collective action can differ in relation to how the agency of individuals within the collective appears.
While high performance predictability is related to whether the team is able to function as a collective self. In these circumstances, the size of the behavioral expression in space and/or time also plays an important role in emphasizing the specific characteristics of joint action, public, externally directed synchronous behavior associated with large-scale and fast-paced body movements, and synchronous behavior originating from " inside" of the individual. Therefore, we propose the utility of these three parameters—predictability, complexity, and size—to analyze the various characteristics of joint actions within the overall concurrent framework.
In general, in theatrical terms, the central issue is not related to the authenticity of the performance, but to the way in which the social world is performed. As Hazel (2015, p. 59) states, “theatrical procedures can serve to articulate normative expectations relating to the social world. However, in our case, the performance is also a critical analysis and commentary on contemporary reality and social processes, which take place mainly through music and dance, which enable the representation of synchronous, almost mindless collective action and the position of the individual within the collective.
In this way, the play deliberately draws the audience's attention to the problematic and potentially tragic aspects of teaming and critically opens up and studies this concept, its ideological basis and personal and social consequences. The musical was a third adaptation of the play written by Finnish playwright and director Sirkku Peltola. Initially, one of the programs was videotaped for the purpose of another article (see Nissi & Dlaske, 2020).
Emphatic speaking style - special focus on prosodic signaling of heightened emotional involvement in conversation. Authenticity (in)authenticity of simulated conversation: Comparison of role-played and actual conversation and implications for communication training.
