'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.

Improving the evidential quality of child witness statements about sexual abuse

 Child sexual abuse cases are often not prosecuted because of poor evidential quality of the visually recorded investigative interview. This thesis examined prosecutors’ perceptions of interviews and took a constructive approach to determine how the evidential quality and usefulness of interviews could be improved.

Witness recall across repeated interviews in a case of repeated abuse.

In this illustrative case study we examine the three forensic interviews of a girl who experienced repeated sexual abuse from ages 7 to 11. She disclosed the abuse after watching a serialized television show that contained a storyline similar to her own experience. This triggered an investigation that ended in successful prosecution of the offender. Because this case involved abuse that was repeated on a weekly basis for 4 years we thus investigated the degree to which the child's narrative reflected specific episodes or generic accounts, and both the interviewer's and child's attempts to elicit and provide, respectively, specific details across the 3 interviews collected in a 1 month period. Across the 3 interviews, the child's account was largely generic, yet on a number of occasions she provided details specific to individual incidents (episodic leads) that could have been probed further. As predicted: earlier interviews were characterized more by episodic than generic prompts and the reverse was true for the third interview; the child often responded using the same style of language (episodic or generic) as the interviewer; and open questions yielded narrative information. We discuss the importance of adopting children's words to specify occurrences, and the potential benefits of permitting generic recall in investigative interviews on children's ability to provide episodic leads. Despite the fact that the testimony was characterized by generic information about what usually happened, rather than specific episodic details about individual occurrences, this case resulted in successful prosecution.

Cyborg presence in narrative theatre

New technologies are transforming the shape and function of contemporary performance practice. Dance in particular has been at the forefront of dissolving the boundaries between humans and technology. In Australia alone, works such as Gideon Obarzanek's GLOW (Chunky Move) and Garry Stewart's Proximity (Australian Dance Theatre) have offered technology a role traditionally preserved only for the live human performer. As these technologies infiltrate theatre practice and their capacity to be co-actors with humans on stage increases, we need to carefully interrogate the notion of the actor's presence. For an overwhelming number of scholars and critics, presence is the defining quality of theatrical performance. Theatre has been privileged as the site where people witness other people together in the same physical space. Digital technologies can be seen as a threat to this and to the actor's presence. Cormac Power's Presence in Play provides a comprehensive analysis of theatrical presence that encapsulates a poststructuralist critique of presence while maintaining the notion of 'presence' as a key aspect of theatre. In this article, I take up Power's category of the literal mode of presence and examine three case studies that use digital technology in ways that disturb traditional conceptions of presence. I investigate the impact that digital technologies in live performance have on theatre's claims to literal presence. I also investigate the indirect impact that these technologies have on forms of fictional and auratic presence (these are Power's terms, which I will define shortly). First, I will establish the centrality of presence to the vast body of commentary on theatre; then, I will draw on Derrida's analysis of the metaphysics of presence to unsettle dominant assumptions about the function of presence in theatre, arguing that such a privileging of presence demonises projected media as a form of contamination that impedes theatre's ability to represent 'truth'. I use Jennifer Parker-Starbuck's term 'Cyborg Theatre' to discuss three examples of digital performance that have used technology to question and challenge our relationship to technology in everyday life. These works challenge traditional notions of selfhood and force us to interrogate the borders between the live and the mediated.

Performing desistance: how might theories of desistance from crime help us understand the possibilities of prison theatre?

Despite the ubiquity of theatre projects in prisons there has been little (published) discussion of the application of theatre to the theories of criminology or rehabilitation of offenders, and scant examination of the potential for criminological theories to inform theatre practice in criminal justice settings. This article seeks to address this deficit and argues that positioning prison theatre within the discipline of positive criminology, specifically contemporary theories of desistance from crime, provides a theoretical framework for understanding the contribution that prison theatre might be making in the correctional setting. Through a review of related literature, the article explores how prison theatre may be motivating offenders toward the construction of a more adaptive narrative identity and toward the acquisition of capabilities that might usefully assist them in the process of desisting from crime.

The status and function of Inanimate 'object-actors' in cyborg theatre

 This practice-led research investigates the relationships between human and technological actors in theatre with specific reference to theatrical presence.The research proposes to advance knowledge in the fields of directing and theatre making by putting forward new strategies for directing actors who perform with computer-based technologies.

The ethos of the mover/witness dyad: an experimental frame for participatory performance

This article reflects on a dance improvisation project in which the foundational relationship of the Mover Witness Dyad (MWD), the private exchange between mover and witness (and more commonly known as Authentic Movement) became an ethical and physical paradigm for an improvised performance. The untitled performance (conceived by Shaun McLeod and danced by Olivia Millard, Peter Fraser, Jason Marchant, Sophia Cowen and Shaun McLeod) took place over three nights in Melbourne in November 2014. It was specifically informed by the experiences, observations and questions drawn from an extensive studio practice of the MWD by the dancers. The practice of the MWD is a therapeutic relationship between contemplative mover and attentive witness. Falling within the wider field of Dance Movement Therapy, the MWD has uses as a therapeutic aid, in personal development and also as a context for exploring dance improvisation. An important feature of the MWD is that attention, in whatever manifestation, is directed inwardly and is engaged bodily. The form parallels dance improvisation in its emphasis on open, exploratory movement, which is grounded in the particular sensibility each individual brings to embodiment. Never intended as a performance practice, the MWD has nonetheless been used by dancers as a method for investigating dancing and towards informing or generating performance content. This project threw up considerations of values; in this case values associated with audience participation and the ethics of ‘witnessing’ improvised dance.

Teens, drinking culture and theatre as awareness-raising: findings from research conducted on the audience of Phunktional theatre company's regional performaces of Love Drunk - interim report April 2016

This report examines the impact of Phunktional Theatre company's regional performance program

Teens, cyberbullying and theatre as awareness raising : interim findings from research conducted on the audience of Phunktional Theatre Company's regional performances of 'who stole the sole?' (October 2015)

This report describes the effectiveness of Phunktional's regional theatre performance program

Origins of the bottom trawling controversy in the British Isles: 19th century witness testimonies reveal evidence of early fishery declines

Bottom trawling (nets towed along the seabed) spread around the British Isles from the 1820s, yet the collection of national fisheries statistics did not begin until 1886. Consequently, analysis of the impacts of trawling on fish stocks and habitats during this early period is difficult, yet without this information, we risk underestimating the extent of changes that have occurred as a result of trawling activities. We examined witness testimonies recorded during two Royal Commissions of Enquiry (1863-66 and 1883-85). These enquiries interviewed hundreds of fishers about the early effects of sail trawling and the changes they were witnessing to fish stocks, habitats and fishing practises during this time. We converted all quantitative statements of perceived change in fish stocks and fishing practices to relative change. Witnesses from the north-east of England interviewed during 1863 revealed an average perceived decline in whitefish of 64% during their careers, which many blamed upon trawling. Between 1867 and 1892, trawl-landing records from the same location suggest that this trajectory continued, with fish availability declining by 66% during the period. Fishers adapted to these declines by increasing distances travelled to fishing grounds and increasing gear size and quantity. However, inshore declines continued and by the early 1880s even trawl owners were calling for closures of territorial waters to trawling in order to protect fish nursery and spawning grounds. Until now, these testimonies have been largely forgotten, yet they reveal that alterations to near-shore habitats as a result of trawling began long before official data collection was initiated.

Evaluation of the usefulness of 'Marvin'; a computerized assessment tool for investigative interviewers of children

This study examined the usefulness of a computerized developmental assessment tool, designed to provide investigative interviewers with knowledge about children's understanding of spatial, temporal, numerical, and color terms that may be relevant to the forensic setting. Specifically, the effect of the computer program (compared to a standard verbal and no assessment) was examined on 4- to 5-year-old children's recall of an independent event and their enjoyment of the interview process. In addition, children's performance on the computerized and verbal developmental assessment was compared with their performance when recalling the independent event. Overall, the children rated the assessment conducted on computer more favorably than the verbal assessment. Further, the verbal assessment elicited responses that were more consistent with their responses about the event than the computerized assessment. However, there was no difference in the accuracy and detail of children's responses about the independent event, irrespective of whether the children received the computerized or verbal assessment, or no assessment. Directions for future research are discussed.