This short case study gives insight into a theatre-making project with young lesbian, gay, bisexual and trans-identified people. The author reflects on the capacity of collaborative arts practice to open discussion around identity and allow space to re-imagine lived experience through metaphor and mythology. She focuses on the central role of the…

As a process for engaging marginalised voices in the social/cultural economy of the media, digital storytelling has garnered much attention from media artists, community organisers and scholars since the early 1990s. The practice of digital storytelling, or the making and sharing of personal narratives through recorded voice-overs, digital…

Since the 1960s and 1970s, theatre artists from around the globe initiated a wave of theatre practice that is commonly known today as People's Theatre or Theatre for Empowerment. Transforming its participants from being mere "spectactors" to "spect-actors" capable of articulating their concerns on-stage, the ultimate goal of such theatre is to…

Julie Salverson, a Canadian scholar-practitioner, has long challenged the assumption that personal storytelling within Community-Based Theatre is necessarily therapeutic. Salverson critiques an "aesthetic of injury," arguing that theatre practitioners have foregrounded personal narratives in a way that reinscribes a "victim discourse" and a sense…

This paper aims to explore a range of aesthetic aspects involved in the devising and production processes of oral history performance in a classroom setting. It touches upon the ethical dimension of aesthetics employing the Confucianist Wang Yang Ming's aesthetic philosophy and Buber's theories of relation as the theoretical frames. The devising…

In this article, I focus on the empowering potential of a participatory practice that frames walking as integral to a performative, self-mapping, and aesthetic process. By discussing my experience as a participant in "Ere Be Dragons" (2007), a work by the artists collective Active Ingredient (Rachel Jacobs and Matt Watkins), I set out some new…

This paper examines how drama teachers' identities play a part in their teaching practices in schools. It highlights what can be learned from drama teachers' expressions of self for their classroom content and management. Much of the current research into teachers and teaching is concerned with "good practice" where students are placed at the…

An emphasis on personal narratives characterises a great deal of participatory theatre practice with refugee groups. It is important to understand how these narratives are conditioned by bureaucratic performance if practitioners are to avoid re-enactments of victimhood in participatory projects. Bureaucratic performance concerns the legal and…

In 2003, the Paris-based theatre company Theatre du Soleil launched "Le Dernier Caravanserail: Odyssees", a collaborative creation based on stories that company members had collected from refugees at the Sangatte refugee camp outside Calais, among other locations. Scenes of moral reasoning dotted the six-hour spectacle, calling to mind the…

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…

This paper focuses on issues of embodiment specific to the experiences of an asylum seeker represented in the play "Refugitive" (2003). The play was written and performed by Shahin Shafaei, an Iranian asylum seeker who spent a period of 22 months in an Australian detention centre. The narrative of the play emerges through a conversation between…

This essay enquires how certain performative mechanisms deployed in the practice-as-research project "Homing Place" might be conceived as "homing devices", mechanisms that create relational and dialogic interspaces of orientation, dwelling, and emplacement and methods of bodily attunement to places. How might they be a "homing place" or "homing…

Testimony typically privileges singular subjectivity; as a means of representing psychological trauma, it is thought to bear witness to an individual's unique experience. This essay interrogates the question of singular subjectivity, arguing that a community can be the nexus around which witnesses "gather" the human and historiographical…

This essay analyses "Through the Wire", an Australian verbatim play by and about asylum seekers, in order to investigate both the figure of the performing witness and the function of performing witness in and through theatre. It suggests that while the characters, actors and spectators involved in the play are all "performing witness(es)", how…

This article discusses a project established at the New Vic Borderlines by Sue Moffat in 1999 titled "Making Amends." It is an example of interventionist theatre undertaken with young offenders. The article draws on theories of restorative justice as well as ideas of learning development found in social constructivism in order to evaluate the…