Fiona McDonagh: A teacher’s story of dramatic change
This paper presents a case study derived from a larger phenomenological inquiry into the ‘lived experience’ of teachers cocreating drama in Irish primary classrooms. Co-creating drama depends on the active involvement of the teacher,...
Interviewing Nwabisa Plaatjie
Nwabisa Plaatjie was not on the Full-Time Training Programme, but joined Magnet Theatre on their Theatre Making internship programme. Here she shares some of her experiences:
NP: My name is Nwabisa Plaatjie. I’m from Ugie, Eastern...
Rita in Performance
Rita was the first performance I saw at the ASSITEJ Artistic Gathering 2019 and, I have to say, I wasn’t quite sure what to expect. This was mostly because, perhaps ignorantly, I...
Robin Pascoe and Peter Wright: Promises, Promises, Curriculum Promises: Implementing a national drama curriculum...
The metaphor of a leaky boat has an apt poignancy for researchers following the publication of the Australian Curriculum: The Arts (Drama) and its adoption and adaption in Western Australia. There are lessons to...
Wool & Wood – Let’s Play!
Two materials: wool and wood. We use them every day, in all kinds of different forms, and for all kinds of different reasons. So, what made them such special and exciting centrepieces in two Performances for...
Ceren Oran’s Soundpainting Workshop
Listen to the soundscape above for a sense of this fascinating workshop that took place at the ASSITEJ Artistic Gathering 2019 in Kristiansand. For more information about...
Alternative Dramaturgies for Cross-Cultural Productions and Productions which Represent the So-Called ‘Other’
In this talk, Mariken Lauvstad asks key questions for cross- and intercultural theatre production in our globalised world. How aware is the Western theatre apparatus of its Eurocentric worldview? When Western theatres...
A Reflection on Dialogue’s Documentation Project
Dialogue worked with Clowns Without Borders South Africa during 2017, in order to document some of their programmes and projects (click here to access the materials). When the project was complete, Clowns Without Borders South...
Chatting with Asanda Rilityana and Emmanuel Ntsamba
AR: My name is Asanda Rilityana and I was one of the first to graduate. I graduated in 2011. Or 10? Between those years. It was a long time ago!
EN: And my name is...
Children’s Memory of Performance: Discovery, Rediscovery, and Re-creation
“You don’t need quantitative data to show that Theatre changes people”, says Elaine Faull, to the workshop attendees on Monday afternoon of the ASSITEJ Artistic Gathering 2019. And yet nevertheless, her data...