'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.

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.