No one likes me : theatre review

 Review of 'No One Likes Me', created and performed by Darren Vizer.

Teaching and learning in the crucible: Actors with disabilities as experts preparing pre-service teachers to be inclusive educators

Dorothy Heathcote understood teaching and learning to take place in a kind of ‘crucible’ in which participants, who are both teachers and learners, contribute to the mix sometimes resulting in a radical transformation. This paper reports the ways Heathcote’s ideas have influenced both research and practice in the Teaching for Diversity workshop - a drama workshop that brings together pre-service teachers, teacher educators and actors from Fusion Theatre, a community-based theatre company for people with intellectual disabilities.

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

Intimacy at work: Playback theatre and corporate cultural change in Mercedes Benz, Brazil

On the back of a faltering economic year in 2007 and a major merger of motor car and truck dealerships, international motor car giant Mercedes Benz adopted a radical approach to re-aligning the company vision for their Brazilian business. Adopting a people-centred approach to change, they integrated participatory theatre and personal stories into a nationwide cultural development programme producing twelve performances in twelve cities. The central content of the performances came from employees who told personal stories that were then performed onstage. Each event acted as a unique expression of workplace values that would be led by employee attitudes and behaviour. Through the dialogic process, the company established a new code of conduct for customer care for the next phase of company activity. This article critiques various aspects of the programme and considers the value and limitations in the person-centred approach facilitated through theatre.

Refugee performance: aesthetic representation and accountability in playback theatre

This essay seeks to unpack some of the issues concerning representation when performing refugee stories using playback theatre. It questions the reductive influence of narrative structure and, using the framework of artist as ethnographer, it argues that strong aesthetic production is required to overcome the dampening effect of empathy when performing personal stories in refugee/asylum contexts. The tension that emerges among the key imperatives of accountable, accurate and aesthetic representation in refugee performance is then explored as a dialogic space.

'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.

'The first time' performance and workshop

'The First Time' is a performance about twelve beginning teachers' first experiences, and is constructed from data generated throughout 2011 for my PhD through a theatre-based research approach. ‘The First Time’ is performed by teachers - most of whom are drama teachers - in order to sensitively represent the real stories of the research participants. 'The First Time' centers around first experiences in teaching, and while it is primarily about beginning teachers' experiences, the idea of firsts in teaching is a universal one, and one through which teachers share their experiences, knowledge and understanding of the ways of becoming a teacher. The workshop includes a performance of 'The First Time' and a discussion of the themes that have been raised through the staging of this performance - such as beginning teacher's experiences, performing the stories of real people, teachers' experiences as performers, and the uses of theatre-based research methods. The workshop also includes the opportunity for participants to experiment with the theatre-based research method.

Using video to promote pre-service teachers’ thinking about their transition to teaching

This paper reports on research investigating the use of video representations of first-year teachers’ experiences in undergraduate teacher education workshops that focus on the transition to teaching. The use of the video is a responsive act that draws on the notion of looking back, where graduates in their first year of teaching ‘speak to’ current students. Scenes from video footage of the theatre-based research performance The First Time shaped workshop activities and discussions in the unit. Themes ranged from pedagogical to practical, covering topics such as teacher identity discourses; epiphanic and revelatory moments of transition to becoming a teacher; and preparing for job applications and interviews. Data from the researcher’s journal, Student Evaluation of Teaching and Units (SETU) comments, and semi-structured interviews with undergraduate students upon completion of the workshops are framed within a phenomenographic paradigm. The aim in phenomenography is to describe variations of conception that people have of a particular phenomenon (Sin, 2010), in this case the video as a tool to promote critical thinking about the transition to teaching. The researcher explored her own, and participants’ experiences, and identified a range of conceptual meanings of the phenomenon. These were classified into categories according to their similarities and differences concerning the effectiveness of this specific video in assisting undergraduates in their transition to teaching. Early results reveal some similarities and many variations among participants as to the effectiveness of the video as a tool. Their conceptions of the phenomenon are individual and relational, and as such are quite varied. Emergent varied themes include: ‘I know what it is that I need to learn’; ‘Is this theory or practice?’; and ‘I don’t do drama’. Emergent similarities include: ‘Preparing for the unexpected’.