'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.

Exploring first year teachers’ identity transformation through theatre-based research

Why are beginning teachers leaving the profession in large numbers? Are they leaving because of their dissatisfaction with teaching? Are they leaving because of the conditions of their work that shape their identity? Teacher identity work emphasises it is important beginning teachers understand their professional identity as something shifting, fluid and emerging – not fixed. These and other water metaphors – such as ‘washout’, ‘sink or swim’, and ‘thrown in the deep end’ – are often used to describe beginning teachers’ experiences. Such words and metaphors assist to portray the fluid and unpredictable nature of identity transformation. However, these survival terms also influence beginning teachers to believe that their transition to teaching will be difficult. Recently there has been an increased concern over beginning teacher attrition linked to the difficulties they encounter in their early years of teaching. Yet the conditions of beginning teachers’ work in Victorian schools in Australia – including the contractual nature of employment of first year (1yr) teachers – encourage these 1yr practitioners to view their work as semi-permanent. As a result these 1yr teachers do not see themselves as teaching for extended periods of time, as was once the case. Throughout 2011 twelve 1yr teachers shared their experiences of identity transformation in semi-structured interviews with the researcher. Their interview data was analysed through a theatre-based research method, examining how first experiences shape teachers’ future practice and identity. This presentation includes excerpts from the theatre-based research performance ‘The First Time’, and expands on the methodological approaches taken to analyse the data in a way that reflects the fluid and unpredictable nature of teachers’ identity formation and transformation. This qualitative study allows categories of description to emerge from the data rather than pre-determining categories of investigation. As such the processes of scripting, rehearsing, and performing, were utilised to analyse and re-present the data. In an aim to uncover questions that have been buried by answers, the research is oriented as a phenomenographic inquiry. This mode of inquiry seeks to describe, analyse, and understand the qualitatively different experiences 1yr teachers undergo in their identity formation and transformation. The results of this research reveal that beginning teachers’ identity transformation through their first experiences have both individual features specific to each teacher’s roles and aspirations, and extra-individual factors such as interactions, affiliations, and status, which shape their identity. Categories of description that have emerged from the analysis include survival, liminal, and hegemonic discourses, artifacts as symbols of belonging, and the impact of the contractual nature of teaching. Implications of this research focus on the importance for beginning teachers to develop an understanding of the transformative nature of identity in relation to the practice of teaching, to counter the negative preconceptions beginning teachers are told to expect as rites of passage upon entering the profession. The research outcomes have implications for teacher educators and in-service teachers negotiating the waters of an ever-changing profession.

Impossible triangles: flat actors in telematic theatre

In fact, in this scene, both A and B are online. A is in a classroom at the University of Amsterdam in The Netherlands, and B is in a television studio at Deakin University in Melbourne, Australia. The two locations are connected through video conference and, in each space, a local audience watches the local performer in the room, and the remote performer projected on a screen. The performers are captured in profile, and appear to be looking at computer screens in front of them but cannot actually see one another. The text is consciously banal, composed to replicate the broken rhythms and sequences, flattened tone and repetitions of scrolling words in a text box on a screen. Information about presence and absence (A or B is offline or online) is spoken as text. Although the two performers speak in accents that declare their different language/ cultures, the vernacular is generic 'internetslang'. The relatively monotonous and unpunctuated delivery of the textual rhythms is interrupted and counterpointed by a sound lag of nearly a second, and by a faint audio echo as one voice 'lands' in the second location. Its orchestration allows the sound fracture and dispersal in some moments. In other moments, the actors anticipate or absorb the gaps in transmission, driving the speech rhythms through so that the utterance 'arrives' precisely at the end of the prompt line.

6 things I know about Geminoid F, or what I think about when I think about android theatre

On Friday evening I saw one of the finest theatre performances from an actor. Her subtle movements, her natural cadence, her ability to portray her character in a way that demonstrated diligent devotion, careful analysis and measured construction, was simply awe-inspiring. Which actor gave this fine performance? It was an android.

Performing beginning teachers’ ‘firsts’: exploring a theatre-based research method

Theatre-based research methods have been employed in a variety of ways to transcend more traditional research methods, and bring research findings to a broader and relevant audience. Performing research to an 'expert' audience is transformative in nature. The audience share a collective understanding of the material presented, where their understandings can be challenged or confirmed. The ethical responsibilities of the theatre-based researcher are therefore paramount in presenting the research in a manner that respects the research participants, and allows the audience to make informed judgements.This paper outlines my experience in devising and performing 'The First Time' - a performance about twelve beginning teachers' firsts. The performance was constructed from their interview data and performed by teachers - most of who are drama teachers – in order to sensitively represent the real stories of the research participants. The research was framed within a practice theory approach (Schatzki 2001) with a focus on the transformation of practices situated within a particular time and place. The method of performing the research to an 'expert' audience of performing arts practitioners, teachers, and teacher educators created an opportunity for both the transformation of teaching practice and the transformation of theatre.The research findings focus on the importance of creativity and flexibility in an approach to both research and teaching. The outcomes of my research have implications for theatre-based researchers, as well as teacher educators, in-service teachers, and beginning teachers. All these practitioners are continually negotiating the waters of their ever-changing professions.

Embedding self, others, culture and ethics in intercultural research

Abstract: This paper highlights the tensions evident in maintaining ethical principles while simultaneously responding to interpersonal and cultural demands in an intercultural research setting. The tensions reflect the intersections of relationships between ethical principles and practice, between a researcher and her research participants, and between people in the same or different cultural communities. The intricacies of cultures encompass unpredictable expectations for many aspects of research, as shown in the sociological perspectives, which are at the very centre of deliberations in this paper. It is argued that ethics, interpersonal relationships and cultural considerations are representative of the complexity of considerations that researchers negotiate throughout the conduct of an intercultural study. Therefore, it is important that the positioning of ethical practices is considered as central to the wider research process.

Being and becoming an intercultural doctoral student : reflective autobiographical narratives

This paper underscores the dynamic and complex dimensions of ‘becoming’ an intercultural doctoral student. It employs autobiography as a research method to portray the reshaping of ourselves as doctoral students to help us engage in self-reflexivity on our mediation of academic, personal and cultural identities in international doctoral education. Our self-narratives on how the plurality of our doctoral identities has emerged and how we have mediated these multiple identities show that becoming an intercultural research student is intimately linked to the process of self-empowerment and re-construction of oneself as a flexible and reflexive intercultural learner and human being. The paper concludes by discussing the notion of ‘reciprocal intercultural supervision’ in doctoral education. It highlights the increased need for (Western) supervisors to develop reciprocal interculturality and the capacity for greater agency in their international doctoral students so that both groups can understand each other better.

Nursing educator perspectives of overseas qualified nurses' intercultural clinical communication: barriers, enablers and engagement strategies

AIMS AND OBJECTIVES: To understand the intercultural communication experiences and associated communication training needs of overseas qualified nurses in the Australian healthcare system from the unique perspectives of nurse educators teaching in accredited bridging programmes. BACKGROUND: Overseas qualified nurses are an integral part of the nursing workforce in migration destination countries. Communication training needs are more complex when there are cultural, ethnic and language differences between nurses, other health professionals and patients. DESIGN: A qualitative, exploratory research design using semi-structured interviews. METHODS: All (nine) organisations involved in conducting the Australian Health Practitioner Regulation Agency approved preregistration bridging programmes for overseas qualified nurses within the state of Victoria, Australia, were involved in the study. Participants were 12 nurse educators employed in these organisations. Thematic analysis was undertaken. RESULTS: Three macro themes emerged about the overseas qualified nurses' intercultural communication: (1) pre-existing barriers and enablers to intercultural communication, for example, nurses' reluctance to engage in communicative strategies that build rapport with patients, (2) transitional behaviours and impact on communication, including maintenance of perceived cultural hierarchies between health professionals and (3) development of communicative competence, including expanding one's repertoire of conversational gambits. CONCLUSIONS: The findings point to the domains and causes of communication challenges facing overseas qualified nurses in new healthcare settings as well as strategies that the nurse educators and nurses can adopt. Communication cannot be merely regarded as a skill that can be taught in a didactic programme. Comprehensive understanding is needed about the sociocultural dimensions of these nurses' orientation, which can impact on how they communicate in their new healthcare settings. RELEVANCE TO CLINICAL PRACTICE: The findings can act as triggers for discussion with overseas qualified nurses and other health professionals to raise awareness about the aspects of intercultural communication and to debate alternative viewpoints and explanations. They can also inform changes in the structure and content of the bridging programmes.