Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1482815
M. Stinson
For some time, I have been thinking about the concept of drama literacy and what it might mean to be drama literate. I have to admit to some discomfort about the term. Perhaps, that is because ‘literacy’ in the traditional English teaching sense is often reduced to the discrete teaching of the component parts of the field in isolation, e.g., phonics or grammar. In drama, this might equate to teaching the elements of drama in isolation, or the ‘paint-by-numbers’ approach often applied to the use of dramatic conventions within process drama. So, the term ‘drama literacy’ causes some ambiva-lence and discomfort. However, it is frequently the case that what makes us feel uncomfortable or uncertain is the same thing that is most worth exploring. Hence, drawing on the expert knowledge in and of our field, this article begins a conversation about what drama literacy might mean.
{"title":"Defining drama literacy – beginning the conversation","authors":"M. Stinson","doi":"10.1080/14452294.2018.1482815","DOIUrl":"https://doi.org/10.1080/14452294.2018.1482815","url":null,"abstract":"For some time, I have been thinking about the concept of drama literacy and what it might mean to be drama literate. I have to admit to some discomfort about the term. Perhaps, that is because ‘literacy’ in the traditional English teaching sense is often reduced to the discrete teaching of the component parts of the field in isolation, e.g., phonics or grammar. In drama, this might equate to teaching the elements of drama in isolation, or the ‘paint-by-numbers’ approach often applied to the use of dramatic conventions within process drama. So, the term ‘drama literacy’ causes some ambiva-lence and discomfort.\u0000However, it is frequently the case that what makes us feel uncomfortable or uncertain is the same thing that is most worth exploring. Hence, drawing on the expert knowledge in and of our field, this article begins a conversation about what drama literacy might mean.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89100901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1443752
J. Shu
Abstract This paper outlines a forum theatre project with recovering gambling addicts and their family members who were themselves the actors and actresses, devising and rehearsals facilitated by artists from an educational and theatre organisation. The addicts and family members came from a local counselling service centre. The researcher in this project was interested in how empowering theatre with forum sessions could be on the recovering addicts, family and student audiences from secondary schools. During the search, the devising and performance sessions were observed, and actors and audience members were interviewed. We found that both actors and audience expressed strong feelings that reflected their understanding and formation of personal and social identities, which were very much influenced by Chinese family values.
{"title":"Forum theatre by ex-gambling addicts – the Chinese family","authors":"J. Shu","doi":"10.1080/14452294.2018.1443752","DOIUrl":"https://doi.org/10.1080/14452294.2018.1443752","url":null,"abstract":"Abstract This paper outlines a forum theatre project with recovering gambling addicts and their family members who were themselves the actors and actresses, devising and rehearsals facilitated by artists from an educational and theatre organisation. The addicts and family members came from a local counselling service centre. The researcher in this project was interested in how empowering theatre with forum sessions could be on the recovering addicts, family and student audiences from secondary schools. During the search, the devising and performance sessions were observed, and actors and audience members were interviewed. We found that both actors and audience expressed strong feelings that reflected their understanding and formation of personal and social identities, which were very much influenced by Chinese family values.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91020500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1443753
Susan E. Davis
Abstract The creation of scripts and performances from, as, and for sharing research has gained increasing credibility in the overlapping realms of applied theatre, performance studies, drama education and arts-based research. The resulting scripts can be used to inform learning processes, share data with research participants and be shaped into performative works for diverse audiences. While much of this work draws upon and experiments with ethnographic methodologies and traditions, the scope for exploring scriptwriting as research is diversifying. This article shares insights emerging from the development of script and a research process which draws on concerns arising from anthropology/ethnology, historiography and drama to develop a script which investigated the principles and practices of nurses today, and those of nurses 100 years ago during World War 1. Such processes which combine historical research, participatory processes and scriptwriting as a creative and research practice can be applied within drama classrooms and other community and professional contexts.
{"title":"Beyond ethnodrama: exploring nursing history and identity through scriptwriting as research","authors":"Susan E. Davis","doi":"10.1080/14452294.2018.1443753","DOIUrl":"https://doi.org/10.1080/14452294.2018.1443753","url":null,"abstract":"Abstract The creation of scripts and performances from, as, and for sharing research has gained increasing credibility in the overlapping realms of applied theatre, performance studies, drama education and arts-based research. The resulting scripts can be used to inform learning processes, share data with research participants and be shaped into performative works for diverse audiences. While much of this work draws upon and experiments with ethnographic methodologies and traditions, the scope for exploring scriptwriting as research is diversifying. This article shares insights emerging from the development of script and a research process which draws on concerns arising from anthropology/ethnology, historiography and drama to develop a script which investigated the principles and practices of nurses today, and those of nurses 100 years ago during World War 1. Such processes which combine historical research, participatory processes and scriptwriting as a creative and research practice can be applied within drama classrooms and other community and professional contexts.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77441987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1493674
A. MacDonald
The 2018 rendition of Education in the Arts is the third edition of the text, being just one year shy of encompassing a decade of change, contention and growth in the Arts education landscape across, predominantly, Australian contexts. A significant proportion of the authors are from the Melbourne Graduate School of Education, working across a diverse range of Arts and teacher education contexts. Further contributions from Arts and education specialists from Deakin University, Queensland University of Technology and the University of Tasmania and threaded throughout, powerfully and pointedly.
{"title":"Education in the Arts (3rd Ed), by Sinclair, C, Jeanneret, N, O’Toole, J, Hunter, M, Oxford University Press, 2018, 273 pp.,$74 AUD, ISBN: 978-0-195-52-794-0","authors":"A. MacDonald","doi":"10.1080/14452294.2018.1493674","DOIUrl":"https://doi.org/10.1080/14452294.2018.1493674","url":null,"abstract":"The 2018 rendition of Education in the Arts is the third edition of the text, being just one year shy of encompassing a decade of change, contention and growth in the Arts education landscape across, predominantly, Australian contexts. A significant proportion of the authors are from the Melbourne Graduate School of Education, working across a diverse range of Arts and teacher education contexts. Further contributions from Arts and education specialists from Deakin University, Queensland University of Technology and the University of Tasmania and threaded throughout, powerfully and pointedly.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74010572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1493673
A. Perry
ABSTRACT This paper examines the evolution of Australian approaches to the production of Shakespeare’s plays during and following the New Wave period. Theatre is a barometer and instigator of social change. By mapping Australia’s evolving sense of national identity and its changing relationship with its colonial masters against changes on the stage, we can gain insight into Australia’s evolving cultural relationship with Shakespeare. Tracing the trend from reverence to irreverence to ownership, this paper supplies a background to this evolution that continues to play out on the stage in contemporary Australian productions of Shakespeare.
{"title":"Surfing the New Wave: Shakespeare with an Australian accent","authors":"A. Perry","doi":"10.1080/14452294.2018.1493673","DOIUrl":"https://doi.org/10.1080/14452294.2018.1493673","url":null,"abstract":"ABSTRACT This paper examines the evolution of Australian approaches to the production of Shakespeare’s plays during and following the New Wave period. Theatre is a barometer and instigator of social change. By mapping Australia’s evolving sense of national identity and its changing relationship with its colonial masters against changes on the stage, we can gain insight into Australia’s evolving cultural relationship with Shakespeare. Tracing the trend from reverence to irreverence to ownership, this paper supplies a background to this evolution that continues to play out on the stage in contemporary Australian productions of Shakespeare.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74099384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1482729
G. Boland
ABSTRACT Dorothy Heathcote’s perspectives concerning ‘role-shifted discourse’ within what she latterly called ‘Model 1: Drama used to explore people’ exhibits a strong alignment with the didactic purposes of ‘living history’ performances at heritage sites such as Colonial Williamsburg, Virginia. Kershaw’s ‘points of process’ concerning the ‘radical in performance’ are introduced as a proposition for analysing and reconceptualising both the character of ‘living history’ performances and the fundamentally radical nature of Dorothy Heathcote’s pioneering innovations for drama-based learning and teaching. This line of ‘theoretical/conceptual’ inquiry offers new propositions about intersections between Dorothy Heathcote’s insights concerning role performance within ‘the drama frame’ and Schechner’s perspectives concerning the dramatic tensions that reside within what Turner identified as ‘liminoid’, threshold-crossing experiences for participant/observers of ‘living history’ performances at museums and heritage sites.
{"title":"‘Many Mickles Make a Muckle’ – Role-Shifted Discourse, Restored Behaviour and the Radical in Performance","authors":"G. Boland","doi":"10.1080/14452294.2018.1482729","DOIUrl":"https://doi.org/10.1080/14452294.2018.1482729","url":null,"abstract":"ABSTRACT Dorothy Heathcote’s perspectives concerning ‘role-shifted discourse’ within what she latterly called ‘Model 1: Drama used to explore people’ exhibits a strong alignment with the didactic purposes of ‘living history’ performances at heritage sites such as Colonial Williamsburg, Virginia. Kershaw’s ‘points of process’ concerning the ‘radical in performance’ are introduced as a proposition for analysing and reconceptualising both the character of ‘living history’ performances and the fundamentally radical nature of Dorothy Heathcote’s pioneering innovations for drama-based learning and teaching. This line of ‘theoretical/conceptual’ inquiry offers new propositions about intersections between Dorothy Heathcote’s insights concerning role performance within ‘the drama frame’ and Schechner’s perspectives concerning the dramatic tensions that reside within what Turner identified as ‘liminoid’, threshold-crossing experiences for participant/observers of ‘living history’ performances at museums and heritage sites.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85696266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1504338
J. Saxton
ABSTRACT As we prepare for the 9th IDIERI in New Zealand, this paper revisits the issues foregrounded at the 2015 Institute and offers possible prompts for considering the state of our art today. A meditation on the concept of ‘open culture’ – the Institute theme – this keynote explores Kuo Pao Kun’s injunction ‘to extend one’s self beyond one’s own culture’ and how and why our capacity for that ‘extension’ is so constrained. Exploring the ‘famine of quality conversation’ and exampled by a case study, the author offers three possibilities that may make it difficult for ‘the light to get in’ and ways in which our own practice may act as a deterrent to that occlusion.
{"title":"What matters? Keynote address July 6th, 2015","authors":"J. Saxton","doi":"10.1080/14452294.2018.1504338","DOIUrl":"https://doi.org/10.1080/14452294.2018.1504338","url":null,"abstract":"ABSTRACT As we prepare for the 9th IDIERI in New Zealand, this paper revisits the issues foregrounded at the 2015 Institute and offers possible prompts for considering the state of our art today. A meditation on the concept of ‘open culture’ – the Institute theme – this keynote explores Kuo Pao Kun’s injunction ‘to extend one’s self beyond one’s own culture’ and how and why our capacity for that ‘extension’ is so constrained. Exploring the ‘famine of quality conversation’ and exampled by a case study, the author offers three possibilities that may make it difficult for ‘the light to get in’ and ways in which our own practice may act as a deterrent to that occlusion.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84394027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/14452294.2018.1513301
M. Stinson, R. Ewing
This bumper edition of NJ considers the role of drama and theatre in developing and/or extending our understandings of culture and identity in a world where we are talking more and more about a global culture. The following articles share a matured thinking about our work, with an increasing emphasis on dialogue and the development of our own critical reflective processes as we strive to enhance understanding of our practice in diverse contexts.
{"title":"Dialoguing to make meaning: drama, dialogues and dialogicality in a continually developing field","authors":"M. Stinson, R. Ewing","doi":"10.1080/14452294.2018.1513301","DOIUrl":"https://doi.org/10.1080/14452294.2018.1513301","url":null,"abstract":"This bumper edition of NJ considers the role of drama and theatre in developing and/or extending our understandings of culture and identity in a world where we are talking more and more about a global culture. The following articles share a matured thinking about our work, with an increasing emphasis on dialogue and the development of our own critical reflective processes as we strive to enhance understanding of our practice in diverse contexts.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85211132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-07-03DOI: 10.1080/14452294.2017.1400397
Danielle Hradsky
Abstract This paper provides an account of using embodied drama practices to explore two poems by Indigenous authors (Oodgeroo Noonuccal and Travis Eulo) with Year 9 Drama classes at a Victorian state secondary school. The work has been shaped by the author’s position as a non-Indigenous teacher-researcher endeavouring to fulfil both curriculum requirements and the Protocols for Koorie Education. It focuses on the challenges of engaging with complex and sensitive texts and provides practical examples of putting available protocols into practice. Reflections on problems enered as well as positive outcomes provide a starting-point for similar work. The impact on students and other participants is demonstrated through interviews made throughout the teaching process.
{"title":"A personal reflection on using embodied drama to explore Indigenous perspectives in the classroom","authors":"Danielle Hradsky","doi":"10.1080/14452294.2017.1400397","DOIUrl":"https://doi.org/10.1080/14452294.2017.1400397","url":null,"abstract":"Abstract This paper provides an account of using embodied drama practices to explore two poems by Indigenous authors (Oodgeroo Noonuccal and Travis Eulo) with Year 9 Drama classes at a Victorian state secondary school. The work has been shaped by the author’s position as a non-Indigenous teacher-researcher endeavouring to fulfil both curriculum requirements and the Protocols for Koorie Education. It focuses on the challenges of engaging with complex and sensitive texts and provides practical examples of putting available protocols into practice. Reflections on problems enered as well as positive outcomes provide a starting-point for similar work. The impact on students and other participants is demonstrated through interviews made throughout the teaching process.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79952389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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