Readers as Performers:The Literature Game Gary M. Salvner (bio) In describing her transactional theory of literary works, Louise Rosenblatt observes, "There is no such thing as a generic reader or a generic literary work; there are only the potential millions of individual literary works. A novel or poem or play remains merely inkspots on paper until a reader transforms them into a set of meaningful symbols. The literary work exists in the live circuit set up between reader and text" (Literature 25). Of course, teachers of literature don't need Rosenblatt to remind them of the futility of trying to create classrooms full of "generic" readers. Daily in our teaching we are reminded that literature loved by some is hated by others, and those works which produce recognition and insight on some students' faces paint blank looks and frustration on others. In encountering the gamut of reactions to a book produced in a single class (or the always baffling change in reaction from one class to another), we are reminded that generic readings of a text are as impossible to find in education as generic children, generic teachers, and generic pieces of literature. Unfortunately, that knowledge doesn't by itself clarify the role of the teacher in the literature class. While it reminds us that a recitation of pre-formed questions begging pre-set answers (the generic literary discussion) is not the solution, it doesn't itself supply alternatives. Finding the means for positively influencing students' reading remains a substantial and sometimes puzzling responsibility for teachers. In investigating this responsibility, Rosenblatt uses a lovely metaphor to describe the teacher role in the literature class. "In the teaching of literature," she proposes, "we are basically helping our students learn to perform in response to a text....The reader performs the poem or novel, as the violinist performs the sonata. But the instrument on which the reader plays, and from which he evokes the work, is—himself" (Literature 279). It is tantalizing to conceive of our task as the evocation of performances, for the literature class as a place of performance suggests a much more active role for teachers than those roles associated the "generic" readings and responses. The central question of literature teaching, following Rosenblatt's metaphor, becomes, "How can we elicit performances from students which are authentic, energetic, and instructive?" In the remainder of this discussion I wish to describe and speculate about one method I have found to be particularly rich in possibilities: the literature game. The mediod is interesting because it seems both to energize reading and extend it, and it seems in its procedures and outcomes to make students into effective literary performers. The literature game is a role-playing activity in which a situation or problem (typically one unrelated to literature at all) is attached to literary works through a scenario students are given. In working through the activity, students are enticed into reacting to the game's problem, which they can do only by responding to the literature as well. These activities are rightfully called games because, even though they are neither as frivolous as hop-scotch nor as elaborate as chess, they contain many of the characteristics we recognize as inherent to the games we play. In his classic study of the play element in culture, Johan Huizinga identifies these characteristics. "A game," he says, is a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy, and the consciousness that it is 'different' from 'ordinary' life. (28) Literature games, then, are activities in which students accept the constraints of an invented world and are freed to operate within those constraints (rather than the constraints of "ordinary" life) in accomplishing a task. Most performances, I would argue, including reading performances, are also game-like, occurring "within certain fixed limits of time and place" and being accompanied by "a feeling of tension, joy, and the consciousness that the activity is different from 'ordinary' life." Could Rosenblatt have been suggesting that literary response should be an activity of play? Over the...
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