Equal to life: empowerment through drama and research in a drama group for people with disabilities

This article draws from findings of qualitative research of a community- based drama and theatre group for adults with intellectual disabilities. The article considers constraints experienced by people with disabilities and explores the ways that experiences in drama and theatre can be particularly empowering for them. The article also reveals the ways that participants can increasingly become collaborators in the research and are empowered through the research process and through the opportunity to have their voices heard.

Fruits of the vine : reflection on performance-making through blogs

In 2006 Drama Australian launched the VINE Project, bringing together groups of drama students within schools, universities and the broader community to make group performances based on a common theme. Using the VINE Project's multi-user blogging environment, group or individuals maintained blogs of their performance-making processes. This allowed the work to be shared within the VINE Project community and potentially a world-wide audience.

This paper contributes to the discussion on the applications of information and communication technologies (ICT) in drama and theatre education. It considers the blog, emerging from web-culture, as a space for groups and individuals to reflect upon performance-making processes. A range of VINE Project participants was asked to reflect and comment upon the performance-making and blogging experience. This paper presents emerging understandings of the role of blogs in encouraging reflection, in creating a sense of group identity and significance, in validating performance-making processes and in building a sense of connection and community among student performance-makers.

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.

Into the wilderness; Gilgul's 'physical' theatre 1994

Gilgul Theatre was founded in May 1991 by director Barrie Kosky and manager flighting designer Robert Lehrer, who aimed to establish 'Australia's first professional Jewish theatre company'.

Artspeak : articulating artistic process across cultural boundaries through digital theatre

In early 2009, researchers in the English Department of the University of Amsterdam collaborated with researchers in the Drama Department, Deakin University, Australia on a project which brought English as a Second Language students from The Netherlands into the rehearsal studio of Australian students engaged in play-building on Australian themes. The project aims were multiple and interconnected. We extended a language acquisition framework established by the Dutch investigators in previous collaborations with the Universities of Venice and Southampton, and combined this with an investigation of ways to harness technology in order to teach Australian students to communicate with and about their art. The Dutch language students were prompted to develop art-related language literacy (description, interpretation, criticism), through live, video-streamed interaction with drama students in Australia at critical points in the development of a group-devised performance (conception, rehearsal, performance). The Australian student improved their capacity to articulate the aims and processes which drove their art-making by illuminating the art-making process for the Dutch students, and providing them with a real-life context for the use of extended vocabulary whilst making them partners in the process of shaping the work. All participants engaged in the common task of assessing the capacity of the art work produced to communicate meaning to a non-Australian audience.

e-learning through digital theatre : breaking down the tyranny of distance and limits of location

In this article, we report on a cross-disciplinary, cross-cultural digital exchange project between Australian Drama and Education students and Dutch English Language and Culture students, and examine the impact of the place-independent, technology-mediated communications and collaboration on their learning trajectories. The intensive, intercultural collaboration between the two groups of students resulted in a 50-minute group-devised, digital theatre play entitled Quarter Acre Dreaming. This play, performed through live interactive media by both Dutch and Australian students, traced the historical development of the Australian suburb, while integrating scenes of Dutch immigration into Australia. In the creative process, the students on either side of the globe interacted through Computer-Mediated Communication (CMC), and used videoconferencing and Skype for live rehearsals and discussions to advance their learning of English, their performance repertoire and cross-cultural understanding.

Multi-media and real fiction theatre making

Visual images, in the process of both the imagination and conception of a theatre production, are central to contemporary practice in drama-making. The use of multi-media in theatre is not only a fruitful way to represent the visual component of a particular experience, it but also constitutes a way of speaking the unspoken. Visual language expresses through multi-media and allows broaching taboo subjects, speaking directly to the audience in spite of the indirect form and drawing subtle connections with the live action so as to make meaning. The tension between live action and any form of visual art blurs the lines between imagination and reality. The multi-media theatre is a metaphor for the human mind exposed to social reality. It consists of interruptions, half-finished conversations and ideological aspersions including its primary function of meta-representation.