This reflection considers the nuances of white theatre teacher/practitioners confronting race and racism in educational drama and theatre spaces. The author invites her white peers to reflect on theory and individual and collective praxis given discrete and shared identity markers. The author shares lessons learned through a variety of…

Since 1994, the London-based queer performance collective Duckie has produced thousands of events, from its regular Saturday club night to larger-scale immersive themed productions and, more recently, long-running projects working with specific underserved groups. In this edited interview, Duckie's three full-time employees, Simon Casson, Dicky…

A dialogue between Taylor, a trans male Turkish-Canadian theatre student and Kathleen, a queer, cis-gendered female Scottish-Canadian theatre researcher considers some questions that queerness and trans identities in the drama classroom invite. Based on their mutual engagement in a virtual drama club in a Toronto high school in the 2020-2021…

In this interview, Joe Norris reflects on his early experiences with performance and how he became involved with collective creations and playbuilding. His work has led him to develop and implement qualitative research methods using playbuilding. In his role as artistic director of Mirror Theatre, he has been the driving force behind numerous…

I began my life as a prison theatre artist 25 years ago. Over the years, through first-hand experience with prisoners, their families, and others, I came to understand some of the more oppressive elements of the state prison system, and the relation of that system to the larger prison-industrial complex. This essay is a reflection on the key…

In this commentary, summarized from a recent interview, the author shares insights and memories from a career devoted to drama and performance studies. He enthusiastically recounts events, initiatives, and collaborations that have helped sustain his lifelong passion for performance.

In this commentary, pedagogical reflection is examined through the lens of a practitioners' personal memories of childhood play. The telling of these stories uncovers and describes the ways in which teachers' personal "play histories" and their reflections upon them could inform their facilitative relationship to, provision for, and…

This paper reflects on my experience of using personal stories to create a Pot Gan performance exploring the complexity of how lives are lived, how the experience of climate change is shaped by poverty and struggle, but also strength in facing adversity. Bringing real stories to the stage had more meaning, emotion and personal connection for…

Emily Hockley, of Cambridge University Press, and Margaret Bartley, of Bloomsbury Publishing, highlight the way that working directly with scholars, students and digital resources creators, through partnerships and collaborative relationships, has helped to frame the current form of their respective online platforms. While the focus of the debate…

Chenchen Zeng's article of 'An overview of current trends in drama education in the People's Republic of China' provided a lucid presentation of the current development of drama education in China, paying particular attention to schools and the role of private education companies. This article is intended to complement her paper by attending to…

In this interview, arts educator Kristen Witczak discusses her experience of teaching drama with children, adolescents, and adults in various educational settings. She shares her early motivation for becoming an arts educator and the moments in her career that nourished her passion for her work. She also outlines some of the institutional and…

This conversation traces the creation of Todos Festival, one of the most important international socially engaged multi-arts festivals in Southern Europe. In dialogue with artistic director, Madalena Victorino, the festival will be portrayed as a space for encounter and performative exploration of difference, linking marginalised migrant and…

This paper explores the use of performance in a college-level course that teaches education majors how to use drama, dance, and music in their instruction. Students engage in drama activities such as improvisation and playbuilding in an effort to experience firsthand the benefits of such practices for their future classrooms. The essay shares some…

Ryerson University theatre professor Natalie Alvarez is currently helming a large, interdisciplinary team in southern Ontario that is testing the power of Forum Theatre to build better, more responsive scenarios for police officer training in de-escalation and mental crisis response. In this interview, Alvarez sits down with issue editor Kim Solga…

Reflecting on a day of dangerous bushfire conditions in NSW, I recount my leadership responsibilities as a principal, highlighting the shaping force of my English teaching past in my response to certain managerial demands that I faced. I illustrate how the sense of ethical responsibility and a commitment to openness that came to define my…