Natalie Lazaroo and Izzaty Ishak: The tyranny of (emotional) distance?: Emotional labour and safe...
This paper takes as its theoretical starting points two ideas:(1) Sheila Preston’s (2013) discussion of emotional labour; and (2) ‘safe space’ as explored by Mary Ann Hunter (2008). It considers how ‘tyranny of distance’...
Robin Pascoe and Peter Wright: Representation and authenticity in drama research
The ways that research is shared is often reductive, pseudo-scientific and may be missing the richness of lived experience. While experience is always embodied as researchers we work to be less removed from the...
Norifumi Hida: Creating next-generation international artists for theatre for young audiences
The International Association of Theatre for Children and Young People (ASSITEJ) comprises theatre artists from all over the world who, despite the diversity of their backgrounds, experiences and artistic investments, share a belief that...
Moe Gregorzewski: Interventions of Otherness? Developing a Critical Transcultural Pedagogy through Applied Theatre
I will explore how postcolonial perspectives on culture and migration can inform the development of a process drama-based Applied Theatre practice that encourages social responsibility and critical citizenship amongst young people. Developing such pedagogical...
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,...
Can the Norwegian Model Inspire a New Direction for the Future of Presenting Professional...
Scenekunstbruket is the largest nationwide provider of Performing Arts for Young Audiences in Norway and is a competence centre for distribution and dissemination of Theatre for Young Audiences. Through their network (in...
Gaenor Stoate: The tyranny of affective distance in the devised drama ensemble
This paper explores the concept of the devised drama ensemble, specifically students in their final year of secondary school curriculum drama in New Zealand’s National Certificate of Educational Achievement (NCEA) programme. Ensembles are established...
Meeting with Yonela Sithela and Maggi Fernando
YS: My name is Yonela, and my surname is Sithela. I am a Magnet Theatre ex-trainee. I did my training in 2012 and graduated in 2013. I’m a performer. I’m an artist. I can sing....
Matt Omasta and Elizabeth Murray: Assessment in Elementary Drama Education
This study articulates U.S. elementary (primary) school drama specialists’ / teachers’ perceptions of assessment as a component of education and documents assessment processes and procedures in drama classrooms. Through a series of qualitative interviews...
Wasim Kurdi: Yearnings of Immigration and Its Agony
Identity formulation through experiencing: “distances by traveling” and “distances by departing”
In 1851, the first Palestinian man arrived in Brazil as an asylum seeker following a harsh long journey. He was probably carried by a cargo ship...