rôle-play

rôle-play (third-person singular simple present rôle-plays, present participle rôle-playing, simple past and past participle rôle-played)

1. Dated form of roleplay.
   • 1974, The Capuchin Annual, Dublin, →OCLC, page 114, column 2:

     Adolescents have a basic need to criticise and to rôle-play (especially in peer-group safety) into what can be.

   • 1994, Phillip Brown, Richard Scase, “Student orientations to work and careers”, in Higher Education and Corporate Realities: Class, Culture and the Decline of Graduate Careers, Florence: Taylor & Francis, published 2005, →ISBN, page 73:

     In this way they are able to maintain a psychological distance from their jobs and to rôle-play, thereby preserving the capacity to develop central life interests and personal identities outside rather than within work.

   • 1999, Julian Stern, “People as sources: pupils, teachers, families, and beyond”, in Developing as a Teacher of History (Professional Development Management File), Cambridge, Cambridgeshire: Chris Kington Publishing, →ISBN:

     Here, however, the task is looking at pupils using each other as sources or to rôle-play historical figures.

rôle-play (countable and uncountable, plural rôle-plays)

1. Dated form of roleplay.
   • 1969, D. H. Reader, Designing and Conducting Sensitivity Training Laboratories for Management (Psychologia Africana; 5), [Pretoria]: National Institute for Personnel Research, →OCLC, page 18:

     As the courses became more creative, however, the trainer became progressively dissatisfied with these set rôle-plays.

   • 1996, Brian Crow, “‘A Truly Living Moment’: Acting and the Statements Plays”, in Geoffrey V. Davis, Anne Fuchs, editors, Theatre and Change in South Africa (Contemporary Theatre Studies; 12), Amsterdam: Harwood Academic Publishers, →ISBN, →ISSN, page 19:

     Though he is appalled by what he is doing, Sizwe feels the force of Buntu’s argument, especially when he resorts to rôle-play to image for this reluctant actor the new ‘Robert’ in the line on pay-day at Feltex, or walking into Sales House to buy a new suit, or becoming a respected member of his local church.

   • 1997, Michael Buckby, “How to prepare for your speaking exam”, in Revise for French GCSE: Listening and Speaking, Oxford, Oxfordshire: Heinemann Educational Publishers, →ISBN, page 60:

     In rôle-plays, what really matters is that you communicate the messages so that a French person would understand them.

   • 2004, Niels Lehmann, Janek Szatkowski, “Theatrical Virtuality – Virtual Theatricality”, in Peter Andersen, Lars Qvortrup, editors, Virtual Applications: Applications with Virtual Inhabited 3D Worlds, London: Springer-Verlag, →ISBN, page 56:

     It follows from this that theatrical improvisation is open-ended. It would be wrong to infer from this, however, that an improvisation is beyond any control. On the contrary, an improvisation (like a rôle-play of children for that matter) needs to be framed very carefully.