The centre of this article is a critical description of the development and production of "Everyday Theatre's" performed pretext, called "replay@timeout", including a detailed account of the devising process and the programme's content. The programme is located within the history and traditions both of theatre in education (TIE) and process drama,…

This article describes the process of research undertaken to examine therapists' responses to the concept of the core processes of change in dramatherapy. The research uses a combination of vignette description and analysis using aMSN messenger. The article describes the theoretical underpinning and rationale to the approach, and the…

When children come together to play dramatically they are involved in the creation of an improvised text. This text emerges spontaneously via the moment-by-moment contributions of individual players who must operate in a highly collaborative way in order to achieve cohesion. This paper reports on a research project involving several groups of 11-…

Habits make everyday life manageable, but can also become obstacles and cause problems. The tendency to repeat old patterns of behavior is a common problem for individuals and for society as a whole. Unreflexive habitual actions constitute an important aspect of social reproduction. In this article, two questions are addressed: Why is change so…

The argument here proceeds from an understanding that learning in drama is about participating in forms of cultural production whilst simultaneously engaging thought and feeling to make sense of aspects of contemporary life. In contemporary culture, acts of war and terror are mediated through television and digitised media and are thereby given…

Performance-making and peace-building are processes predicated on the production of safe space. But what is "safe space"? In performance-making, what is it that makes space safe without losing the creative potential of tension? What role is there for risk? And, once achieved, how does safe space become meaningful beyond its immediate community of…

In Turkey, creative drama has been incorporated into many fields; in particular, it has been used in training teachers. In learning how to use drama to teach different subjects, trainee teachers have always participated willingly in drama studies. Part of the reason for this is that Turkish people are familiar with drama activities through…

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 investigates performance events that feature actual refugees, asylum seekers and immigrants, but in instances where presence and embodiment are mediated and made ambiguous. My focus is a fashion show by Catalan designer Antonio Miro, who uses refugees from Senegal as models, and Christoph Schlingensief's public art project "Foreigners…

This essay provides a brief account of selected performances of Australian refugee policy in the domains of politics and theatre. In the domain of politics, it considers rhetorical performances by government ministers and military personnel in relation to the so-called "children overboard" scandal of 2001, and the scandal's parliamentary…

This essay begins by outlining Emmanuel Levinas's radical conception of ethics. Levinas invokes/declares an absolute and primary obligation of responsibility to the human Other, whom he figures hyperbolically as invoked by the epiphany of the encounter with "the face of the Other." This encounter with alterity founds not only ethics, but…

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…