Make do

Script and images from creative development of performance project conducted in February 2005. Supported with a grant from Arts Queensland, this non-verbal, music driven two-hander, designed for young audiences, utilised video projection and the music of Erik Satie and Bill Evans to explore issues around conflict and environment.

Show

Script for non-verbal performance. ----- ----- ----- Research Component: Silent Treatment: Creating Non-verbal Performance Works for Children ----- ----- ----- The research field of theatre for young people draws on theories of child development and popular culture. SHOW explored personal and social development, friendship and creative play through the lens of the experience of girls aged 8-12. This project consolidated and refined innovative approaches to creating non-verbal theatre performance, and addressed challenges inherent in the creation of a performance by adults for young audiences. A significant finding of the project was the unanticipated convergence of creative practice and research into child behaviour and development: the congruence of content (Female bullying) and theatrical form (non-verbal performance: “Within the hidden culture of aggression, girls fight with body language and relationships instead of fists and knives. In this world, friendship is a weapon, and the sting of a shout pales in comparison to a day of someone’s silence. There is no gesture more devastating than the back turning away Simmons, Rachel (2002:3) Odd Girl Out: The Hidden Culture Of Aggression In Girls Schwartz Books The creative development and drafting process focussed on negotiating the conceptual design and practical constraints of incorporating diegetic music and video sources into the narrative. The authorial (and production) challenges of creating a script that could facilitate the re-mount a non-verbal work for a company specialising in text-based theatre . ----- ----- ----- Show was commissioned by the Queensland Theatre Company in 2003, toured into Queensland Schools by the Queensland Arts Council and in 2004 was performed at the Sydney Opera House.

Creating theatre for young audiences : UKULELE MEKULELE and SHOW

A manifesto for creating theatre for young audiences, which also introduces two works by David Megarrity programmed by the Sydney Opoera House in 2004. ----- ----- Presented at educator's forum ‘Creating Theatre for Young People’, Sydney Opera House June 16, 2004

Backseat drivers

Script for non verbal performance work for young audiences. Three productions by the Queensland Theatre Company 2000-2002. ----- ----- ----- (QTC/QPAC) Out of the Box Festival of Early Childhood 2000. Queensland Arts Council Tours 2000, 2001, 2002. Seoul Arts Centre 2000 ----- ----- ----- Selected by ASSITEJ as a representative script for Australia ----- ----- ----- Set entirely in the backseat of a car, with the road behind appearing on a rear-projection screen, Backseat Driver is the story of two very different children battling the fingerdrumming, motor-humming boredom of a long car trip. Using non-verbal performance, video projection and the music of Cliff Richard, Elvis Presley and the Shadows, Backseat Drivers is a comedy for anyone who has ever asked the question ”are we there yet?”. Exploring the power of creative play, Backseat Driver has enjoyed three productions, including a season for Korean audiences at the Seoul Arts Centre in 2001.

Interactional competence in a paired speaking test : features salient to raters

Paired speaking tests are now commonly used in both high-stakes testing and classroom assessment contexts. The co-construction of discourse by candidates is regarded as a strength of paired speaking tests, as candidates have the opportunity to display a wider range of interactional competencies, including turn taking, initiating topics and engaging in extended discourse with a partner, rather than an examiner. However, the impact of the interlocutor in such jointly negotiated discourse and the implications for assessing interactional competence are areas of concern. This article reports on the features of interactional competence that were salient to four trained raters of 12 paired speaking tests through the analysis of rater notes, stimulated verbal recalls and rater discussions. Findings enabled the identification of features of the performance noted by raters when awarding scores for interactional competence, and the particular features associated with higher and lower scores. A number of these features were seen by the raters as mutual achievements, which raises the issue of the extent to which it is possible to assess individual contributions to the co-constructed performance. The findings have implications for defining the construct of interactional competence in paired speaking tests and operationalising this in rating scales.

Cello day

This one-act two hander was intended as an experiment in incorporating JS Bach’s cello suites into a dramatic context. It also played with the dramatic possibilities and constraints of one character being verbal, and the other non-verbal. This first draft was shortlisted in the 2005 Queensland Theatre Company’s Queensland Premier’s Drama Award.

The empty city (Stage adaptation)

This pre-production script for a non-verbal, multimedia performance is the outcome of three rounds of creative development (2009-10) focussed on adapting a children's picture book for the stage. Protoype versions of this script were realised at work-in progress performances at the Queensland Performing Arts Complex in January 2009, and the Woodward Theatre in July 2009. Supported by the Australia Council, Arts Queensland, Windmill Theatre (SA) and QUT

The Figures

This short film, created by David Megarrity and Luke Monsour, experimented within a short timeframe with the challenge of superimposition of hand-drawn backgrounds, non-verbal action, and a short, sharp shoot. The aim was also to find a single piece of standalone music that would act as an unedited soundtrack It won Best Queensland Film at the Woodford Film Festival in 2005, and was screened at Base-Court, Lausanne Switzerland in 2006, and the Westgarth Film Festival 2005. It was acquired by comedy website minimovie in 2007.

Consumer misbehaviour during professional service encounters

To date, consumer behaviour research is still over-focused on the functional rather than the dysfunctional. Both empirical and anecdotal evidence suggest that service organisations are burdened with the concept of consumer sovereignty, while consumers freely flout the ‘rules’ of social exchange and behave in deviant and dysfunctional ways. Further, the current scope of consumer misbehaviour research suggests that the phenomenon has principally been studied in the context of economically-focused exchange. This limits our current understanding of consumer misbehaviour to service encounters that are more transactional than relational in nature. Consequently, this thesis takes a Social Exchange approach to consumer misbehaviour and reports a three-stage multi-method study that examined the nature and antecedents of consumer misbehaviour in professional services. It addresses the following broad research question: What is the nature of consumer misbehaviour during professional service encounters? Study One initially explored the nature of consumer misbehaviour in professional service encounters using critical incident technique (CIT) within 38 semi-structured in-depth interviews. The study was designed to develop a better understanding of what constitutes consumer misbehaviour from a service provider’s perspective. Once the nature of consumer misbehaviour had been qualified, Study Two focused on developing and refining calibrated items that formed Guttman-like scales for two consumer misbehaviour constructs: one for the most theoretically-central type of consumer misbehaviour identified in Study One (i.e. refusal to participate) and one for the most well-theorised and salient type of consumer misbehaviour (i.e. verbal abuse) identified in Study One to afford a comparison. This study used Rasch modelling to investigate whether it was possible to calibrate the escalating severity of a series of decontextualised behavioural descriptors in a valid and reliable manner. Creating scales of calibrated items that capture the variation in severity of different types of consumer misbehaviour identified in Study One allowed for a more valid and reliable investigation of the antecedents of such behaviour. Lastly, Study Three utilised an experimental design to investigate three key antecedents of consumer misbehaviour: (1) the perceived quality of the service encounter [drawn from Fullerton and Punj’s (1993) model of aberrant consumer behaviour], (2) the violation of consumers’ perceptions of justice and equity [drawn from Rousseau’s (1989) Psychological Contract Theory], and (3) consumers’ affective responses to exchange [drawn from Weiss and Cropanzano’s (1996) Affective Events Theory]. Investigating three key antecedents of consumer misbehaviour confirmed the newly-developed understanding of the nature of consumer misbehaviour during professional service encounters. Combined, the results of the three studies suggest that consumer misbehaviour is characteristically different within professional services. The most salient and theoretically-central behaviours can be measured using increasingly severe decontextualised behavioural descriptors. Further, increasingly severe forms of consumer misbehaviour are likely to occur as a response to consumer anger at low levels of interpersonal service quality. These findings have a range of key implications for both marketing theory and practice.