Viewpoints, creativity and embodied learning : developing perceptual and kinaesthetic skills in non-dancers studying undergraduate university drama

Viewpoints are a structural approach to training and directing for theatre. Originating from the innovative, inventive and exploratory approach of Mary Overlie and the self- confessed scavenger approach of Anne Bogart, Viewpoints offers a practical philosophy of working. As a training approach it begins with a disciplined engagement  of the body in space and time. The tangible elements of the Viewpoints provide a set of tasks on which the student can focus, thus freeing the imagination and spirit to  create. Yet at the same time the systematic logic of Viewpoints supports novice practitioners to begin to question their perception, invest in creative practice that demands action and exploration, and to deconstruct, re-organise and rebuild scores and sequences in the pursuit of theatre that is visceral and visual. This essay reports on undergraduate student experiences of learning Viewpoints. It interrogates the demands of embodied learning of the movement/structural system on non- ancers and examines student-actor experiences of embodied learning from multiple of subject positions – observer/participant/creator/reflector/actor.  

Assessing individual clinical performance: a primer for physicians

The assessment of individual physician performance has attracted interest from several quarters, including statutory licensing agencies and credentialing bodies of healthcare institutions. Performance measures and assessment methods have been developed, although their validity, reliability and feasibility in regards to physician specialty practice are open to challenge. Despite this, professional colleges and societies will be increasingly obliged to ensure their members are demonstrating high-quality performance on the basis of assessment methods viewed as being transparent, impartial and reproducible. This article provides an overview of the current state of the art which hopefully will serve to inform future debate both within and outside professional circles.

Developing creative citizens through experiential learning environments in applied drama

The Seoul Agenda (2010, p.8) recognizes the value of arts education in enhancing creative and innovative capacity in young people. It goes so far as to suggest that applying arts will “cultivate a new generation of creative citizens”. This paper documents a specific area of arts education in university level drama degrees. In a case study approach, it discusses the outcomes of a work-based learning approach for students of applied drama. It explores the drama student‟s experience and considers how engaging in the study of applied drama and applied performance and having the support and opportunity to transfer these skills in real contexts acts to develop creative capacity and to contribute to consolidating the students‟ identities as citizens

Big clumsy feet stomping all over: shame, caution and fear in performance for peace building

This article examines some of the tensions implicit in performing in peace contexts. Drawing on the community-based performance form playback theatre, the article interrogates the (citizen) artist/performer within the demands of improvised performance. The article investigates the demands on the actor in a practice context that features refugee and asylum-seeker audience members/participants: the way in which performative risk, the risk of intimacy, the risk of getting it wrong and the risk of shaming self and other are considered in light of the challenges associated with the specificity of the ethnicity, cultural context/s, values and protocols of these audiences.

Presents//presence: Telematics, performance and embodiment

Of giving and receiving // Of giving and taking // Of exchanges
Reciprocity // Mutuality // Expectations

A performance of liveness in which the presence of the performer is interrogated.

Drawing on Dan Graham's (1974) Two Consciousness Project, Presents//Presence plays on Object = Space relationships. Engaging with contemporary notions of thinking and consciousness, the performance plays with time - the here and now, the passage of time, time zones, and timing.

Lovers. An anniversary. Fine Dining. Distance. Skype.

Presents disrupt subject positions of audience, of performer; something happens while we are waiting for something else to happen. Through the use portable computers and hand-held (smart) devices for the capture and 'projection' of action in real time, the exploration sets out to engage with notions live and remote, absence and presence, the play of embodied transmission and live performance and the perception of absence.

Through a simulation of the simultaneous presences (performances) of performers Magda Miranda and Rea Dennis, Presents//Presence is a performative event that (re) activates live/d moments in the lives of the artists. Such presence characterizes computer time – “a permanent present, an unbounded, timeless intensity” (Virilio in Dixon 90). Such presence could also be said to characterize the intra-subjective experience of intimacy. The piece draws on the languages of live theatre, elements of autobiographical performance, inter- and intra-subjective perception, and an understanding of time as a spatial metaphor. This paper reports on the performance event Presents//Presence. In it, we outline the narrative and structural anchors that frame the piece and discuss some of the theoretical threads informing the research. The paper is accompanied by a recording of the performance that was delivered to a live audience at University of South Wales, Cardiff during the Remote Encounters conference in April 2013.

Reclaiming the shrew: Beacon for Wales final project evaluation

FInal Project reoprt for The Beacon's For Engagement Funded performance project entitled: Reclimaing the Shrew; a partnerhship between Beacon for Engagement, Wales, University of Glamorgan and Valleyskids aimed to engage and retain young people at risk in creatiing a personally meaningful art project for their communities. The research drew on Csikzemmyhaliyi's work that promotes effortful physical activity to induce flow in adolescents couple with devising and phsyical theatre practice that enables a democratic creative experience for participants.

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.

Love, politics, time

Featuring the musical compositional techniques of phase, repetition and pulse, with the sounds of New York recorded from a 16th floor hotel window, this sonic poem is a plea for the intimately spoken word. As cockatoos rise in the white siren sky, two lovers confront love and time in a halting conversation inside a placeless shelter.
This performance work is a poetic and musical experimentation with ideas from the philosopher Alain Badiou. The intersection of political and amorous truth procedures thought to form the subject matter of many novels is extended upon by presenting such an intersection via the crossing of genres of music, sound art, poetry, prose and theatre. This collaborative venture forms a continuing experiment with the idea that music does not simply form a corollary with words and their representation in sound, but rather explores ways in which music can form an antagonistic relationship to the spoken word.
'Conversation in an air raid shelter' was originally presented as a live performance at Double Dialogues Conference: 'The 21st century - The Event, The Subject, The Artwork', Fiji, 2012 and the audio recording appears in Double Dialogues Issue 16, Spring 2013 with an accompanying discursive article 'Love, Politics, Time'. It is available on CD and Youtube. It was also performed at the Torquay Literary Festival in 2013. A discussion of its process by Josephine Scicluna features on a video currently in production by Deakin University for a new unit on creativity in the Bachelor of Arts program.

Randai Hari Bela Negara

This was a traditional theatre form with an original script in Indonesian (as opposed to the local language of the region) that retold the events leading to the formation of the emergency government of Indonesian following Dutch aggression after Indonesia declared independence. The performance features an original script based on in-depth historical research, originally choreographed dance based on traditional styles, a play script for the actors, and original songs. The preparation of this script required extensive historical research, including interviews, as well as the conversion of traditional art genres into Indonesian for presentation in the modern context. This was the first time a randai, a traditional theatre form, has ben done in Indonesian and represents a significant innovation in the performing and literary arts. The performance involved dance, music, singing, written text, and acting, all of which were composed, directed, and overseen by the author.

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.

Arts governance: people, passion, performance

Since the crisis in governance which led to a shortage of capable board members, recent years have seen the emergence of the enterprising arts organisation - a development which has led to the need for new types of board members who have a greater understanding of 'mission, money and merit' within a cultural construct. This innovative book explores the world of the arts board member from the unique perspective of the cultural and creative industries. Using a wide range of research techniques including interviews with board members and stakeholders, board observations and case studies this book provides a rich and deep analysis from inside the boardroom. It provides in-depth insight into the changing pressures on arts boards after the financial crisis, and focuses uniquely on the role of passion on arts boards. Part of the Routledge Research in Creative and Cultural Industries Management series, written specifically for people seeking to develop their careers in cultural and creative management, this book is also for people working in and with arts organisations, in government and non-profit arts organisations. It will also be of interest to academics and researchers working in the wider corporate governance field.