Dramaform

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A dramaform is a headmate that is formed from acting out a play or movie. They may be an introject of the portrayed character, or a kind of imaginagenic headmate.

If the portrayed character has been depicted in media before, this headmate may be an altive of said existing character.

If the portrayed character is new and the actor has some creative freedom, the headmate may develop gradually along with the actor's perspective of the character.

Related Terms
A dramaform is similar to an OCtive, with the difference that the system is playing a role within a given script. As such, the character may be considered less of an "OC".

A dramaform may also be considered a textform, as well as an autoject or fictive.

If the actor has some creative freedom and bases some of their alterations on the emerging dramaform, they may be loosely considered an ouroboros or otherwise sourcebound.

History
Several actors have described their characters as taking on a life of their own, as have many authors. They describe internal conversations with characters with varying levels of input from the author, ranging from active direction akin to parroting to seemingly unprompted action from the character. One example of this is Leonard Nimoy describing his relationship with the character of Spock, as detailed in his books "I am Not Spock" and "I am Spock". (Sources needed)

Some of these experiences are common thought experiences that are not automatically plural. For some of them, the characters are described with having an amount of agency that is similar to that of a headmate.

A possible explanation is a technique writers and actors make use of to develop more realistic and fleshed-out characters, which is to imagine how they would react to situations and take on their perspective, prompting development of such perspectives and opinions. Similar methods can be found in tulpamancy, though with the active goal of developing a headmate.

Techniques like this do not always result in headmates, and aware systems might develop their characters like this without forming a dramaform or textform.

Whether or not these occurrences can be described as plural experiences or not remains unclear in most cases since the respective creators and studies rarely if ever touch on plurality as a concept.