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.

Theatre Australia (un)limited: review

 Review of Geoffery Milne's text 'Theatre Australia (Un)Limited'

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.

Sayonara interviews: android-human theatre

Featuring a life-like humanoid robot, Seinendan Theatre Company (Japan) brought their performance Sayonara: Android-Human Theatre to Melbourne in August 2012. Geminoid F, an android, starred alongside Canadian actress Bryerly Long, in a performance that asks the question: What does life and death mean for humans as opposed to robots?

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.

Polyphony and performance: integrating the theatre into cinema's modernity

My research explores film’s nascent relationship to the late nineteenth century stage. It argues that the emergence of digital culture has seen a focus on the technological rather than performative history of film and new media. This means that what we accept as ‘the cinema’ often denies or elides the theatrical practices that were brought into the nascent media. My interest, in particular, is the narrative theatrical film before World War One. Particularly in Australia, which is credited with having ushered in the longer playing feature film format with the release of The Story of the Kelly Gang, these pre-teen years are fundamental to a proper understanding of our larger contribution to the global film industry.

Measuring nursing competencies in the operating theatre: instrument development and psychometric analysis using Item Response Theory

BACKGROUND: Concern about the process of identifying underlying competencies that contribute to effective nursing performance has been debated with a lack of consensus surrounding an approved measurement instrument for assessing clinical performance. Although a number of methodologies are noted in the development of competency-based assessment measures, these studies are not without criticism. RESEARCH AIM: The primary aim of the study was to develop and validate a Performance Based Scoring Rubric, which included both analytical and holistic scales. The aim included examining the validity and reliability of the rubric, which was designed to measure clinical competencies in the operating theatre. RESEARCH METHOD: The fieldwork observations of 32 nurse educators and preceptors assessing the performance of 95 instrument nurses in the operating theatre were used in the calibration of the rubric. The Rasch model, a particular model among Item Response Models, was used in the calibration of each item in the rubric in an attempt at improving the measurement properties of the scale. This is done by establishing the 'fit' of the data to the conditions demanded by the Rasch model. RESULTS: Acceptable reliability estimates, specifically a high Cronbach's alpha reliability coefficient (0.940), as well as empirical support for construct and criterion validity for the rubric were achieved. Calibration of the Performance Based Scoring Rubric using Rasch model revealed that the fit statistics for most items were acceptable. CONCLUSION: The use of the Rasch model offers a number of features in developing and refining healthcare competency-based assessments, improving confidence in measuring clinical performance. The Rasch model was shown to be useful in developing and validating a competency-based assessment for measuring the competence of the instrument nurse in the operating theatre with implications for use in other areas of nursing practice.

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