PASK AS DRAMATURG

''Drama'' derives its meaning from the Greek ''dran'' [delta-roe-alpha -nu], ''to act, to do'' and, in so many ways, Pask has always been abo ut acting and the ''dramatic'' [1]. When I say acting I do not want on ly to refer to Pask's performances - lecturer, researcher, client-dazz ler, theatrical impresario or human being, all of which are intertwine d and usually indistinguishable. When I say dramatic I do not want onl y to suggest an effective and memorable personality - no one forgets P ask, though most profess (often disingenuously) that they ''didn't und erstand him. '' To remember him is to understand him, in so many impor tant ways. No, standing before you I could convince you that the very core of his approach to human learning and performance is that of Dram aturg, the Maker of Drama. Here, in prose, I can only outline what in life is the indescribable experience of The Pask's work.