234 representation, and theorizing even as I write. Within these supplementary methods of analysis, most useful to date has been our “film-play.” In film-play adult participants, researchers and teacher, make maximum use of our roles as participantobservers by enhancing our own and others’ emotional re-engagement in the playworld using the art form of film and play. Film-play occurs during intervention design, analysis of our data and presentation of our findings.
Analysis of the “Whole” Playworld: Chapter Three In chapter three I sketched the events in the implementation of this playworld in order to make the case that phenomena constituting perezhivanie manifested themselves on a frequent basis. Relying primarily on field notes, I created a narrative of the entire playworld, which I supplemented with the children’s paintings of, and in response to, the playworld. This chapter provided a plausible case for the interweaving and interdependence of the many instances of perezhivanie that this playworld makes visible, and highlighted the fractal nature of perezhivanies within perezhivanies. Within the entire playworld, as presented in that overall narrative, there were several instances of engagement that appear, even at the relatively superficial level of analysis provided there, to have been instances of perezhivanie. Several examples are prominent in the narrative. To start with, in January, after the first acting session, in which the words in the book disappeared and the book fell apart, the adults were all deeply moved by listening to the audio recording of the children gasping during their intense emotional