The central problem of this thesis is how a teacher may engage with risk. I offer a reconsideration of the term and suggest that risk is individual, perceptual and experientially driven. I use a Heideggerian (1962) frame when I suggest that, when taking a risk, a person is potentially encountering existential death. Using my own practice as a trapeze artist, I reveal how risk is manifested for the students I teach - how it can profoundly challenge and unsettle them- and how I as a teacher am charged with ensuring that they are empowered rather than stultified or domesticated by the risk. I call this enacted skill ‘pedagogic tact’. By combining Jacques Rancière’s notion of Universal Education (1991) with Martin Heidegger’s ontological appreciation of being-towards-death (1962), I propose that what teachers awaken within students is knowledge of the possibility of death and of not-death within certain pedagogic encounters. I cannot know, measure or prove whether this knowledge has been achieved. However, I can document and describe the students’ relationship with the teacher within these moments. This document therefore becomes a description of student-teacher encounters when the teacher attends towards the emancipation of the student. The combination of reflective research methods from David Tripp (1993), Max Van Manen (1990), Della Pollock (Pollock in Phelan and Lane, 1998) and Jonathan Smith et al (2009) provides a means for phenomenological hermeneutic analysis. I have reflected upon my work with five students over the course of five days of trapeze training, extracted what Tripp would call ‘critical incidents’ between teacher and student and considered their meaning (1993:3). This research is a documentation of engaged pedagogy. It is a performative thesis that ruminates upon how I teach aerial work. There are many findings that seem apparent at the time of writing up. I repetitively circulate around the notion of death, failure, rupture, domestication, entrapment, sacrifice, vulnerability, sobriety and pain as significant elements that describe my work with risk. These concepts are balanced with words such as poetry, liberation, love, strength, glory, resolution and joy. There appears to be a second paradox of teaching that sits alongside and dialogues with the Kantian ‘freedom through coercion’ (1960:699); it is summed up by aerialist and teacher Matilda Leyser in her description of aerial work as ‘strength through vulnerability’ (2007). In order to enable the students’ strength to be challenged, witnessed and supported, there needs to be vulnerability from them, from their carers, from the teacher and from the institution. This vulnerability is not imposed, or bestowed, but is ‘owned’ by the student and teacher in their anxiety and in their choice to, in a Heideggerian sense, comport themselves to that which matters most (Heidegger, 1962). In these moments, anxiety reminds the student that they might die; it also reminds them that they can be strong in the face of possible death. This paradox of vulnerability and strength is synthesised or ‘held’ by the teacher’s tact. The new knowledge that I assert, therefore, is a description and mapping of pedagogic tact. Through this new knowledge, I explore the possibility of becoming a better teacher.

This is a research study that explores the kind of pedagogical possibilities that collective remembrance mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance (an artistic and pedagogical project) that attempts to link significant historical learning with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational processes that facilitate the understanding of the ‘work of collective memory’. The hypothesis is that through the work of drama framed as a performative practice of remembrance, students can productively explore the work of memory; its functioning, implications and structures. In addition, by manipulating the elements of the art form, it is proposed that students also learn how drama works, its mechanisms and devices. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework. This dissertation provides an account of and analyzes key episodes of the research journey of a group of 16 students in a Grade 10 drama class, their drama teacher and myself -a drama artist, researcher and educator- as we collectively explored issues of historical memory through practices of process drama. The setting for this exploration was a project to initiate a drama classroom-based "community of memory" with one class in the Normal-Distrital Maria Montessori School, in Bogotá, Colombia, South America. Participant-researchers worked through questions regarding the public remembrance of the story of the Colombian Afro-descendant Manuel Saturio Valencia, one of last prisoners to be executed by the State before capital punishment was eliminated from Colombia in 1910. As an Afro-descendant, the story of Saturio's life and subsequent execution remains little known in Colombia. Thus at stake in this project was the recovery of forgotten stories, the construction of a more inclusive public memory, and the formation of a critical historical consciousness.

This is a research study that explores the kind of pedagogical possibilities that collective remembrance mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance (an artistic and pedagogical project) that attempts to link significant historical learning with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational processes that facilitate the understanding of the ‘work of collective memory’. The hypothesis is that through the work of drama framed as a performative practice of remembrance, students can productively explore the work of memory; its functioning, implications and structures. In addition, by manipulating the elements of the art form, it is proposed that students also learn how drama works, its mechanisms and devices. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework. This dissertation provides an account of and analyzes key episodes of the research journey of a group of 16 students in a Grade 10 drama class, their drama teacher and myself -a drama artist, researcher and educator- as we collectively explored issues of historical memory through practices of process drama. The setting for this exploration was a project to initiate a drama classroom-based "community of memory" with one class in the Normal-Distrital Maria Montessori School, in Bogotá, Colombia, South America. Participant-researchers worked through questions regarding the public remembrance of the story of the Colombian Afro-descendant Manuel Saturio Valencia, one of last prisoners to be executed by the State before capital punishment was eliminated from Colombia in 1910. As an Afro-descendant, the story of Saturio's life and subsequent execution remains little known in Colombia. Thus at stake in this project was the recovery of forgotten stories, the construction of a more inclusive public memory, and the formation of a critical historical consciousness.

In this study, I seek to explore the phenomenological question: What is the lived experience of rehearsing for and performing in a high school musical? Employing a research methodology inspired by Max van Manen, I outline a theoretical framework highlighting the intersection of Martin Heidegger’s phenomenology and Constantin Stanislavski’s acting theory. Because this intersection rests on a mutually compatible view of being-in-the-world as an experience of both temporality and sociality, I also identify two sub-questions: What is the lived experience of time, as set apart, for the high school musical? and What is the lived experience of encountering and being-with others in a high school musical? Further, because high school musical theater is an activity that occurs in schools, which are spaces of learning, a third sub-question becomes: What is the lived experience of learning in a high school musical? I explore this phenomenological question by collecting lived experience descriptions from five high school students participating in a production of South Pacific. Using data gathered from three interviews taken at periodic intervals over the course of the rehearsal and production period, as well as weekly personal journals created by the students, I present a narrative that seeks meaning and understanding through an encounter with the students’ unique experiences. An important rationale for conducting phenomenological research is that encounters with experiences outside our own can foster empathetic reactions and, when undertaken in the context of educational research, this empathy can lead to more thoughtful pedagogy. In discussion of my findings, I propose that a view of the musical theater process that focuses on training students to stage a final production and concentrates primarily on instilling an understanding of performance skills in order to do so may limit opportunities for students to find deeper levels of meaning, and that structuring a rehearsal process that specifically seeks to encourage the discovery of meaning by students could enhance both the journey and the destination of high school musical theater.

Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often �top-down� method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.

Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often �top-down� method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.

Drama and theatre have traditionally been dynamic forces in education in England. This study researched drama and theatre in higher and further education at six institutions in England for the purpose of developing the history and current conditions.

This thesis evaluates the Skyline drama program. The first chapter presents an overview of the program; Chapters II and III describe the core and the advanced curriculum, respectively; and Chapter IV examines the first year of operation and evaluates the entire project.

Hur arbetar regissörer och dramapedagoger med barn med ”personregi” - alltså med feedbacken som hjälper till att ett barn hittar ett uttryckssätt som är trovärdigt, ett sätt att spela som är livligt. Hur gör man och varför? Vad är det för en typ av handling, interaktion? Syftet med arbetet är att förstå och tydliggöra en ganska dold och mystisk verksamhet; att inspirera alla intresserade till utvecklat egen verksamhet; att lyfta fram en interaktion där barnen blir hjälpt till och värdesatt i deras spontana tillvaro. Arbetets metodik är inspirerad av ”grundad teori” och närmar sig den konkreta sociala interaktionen genom att föra öppen strukturerade samtal med regissörer och dramapedagoger som är verksamma i stora mest kommunala barn/ungdomsteater: Vår Teater/Kulturskolan, Enskedespelet, Sagateatern Lidingö, Ung teater Täby, Skara Skolscen samt Stockholms Stadsteater och Dramaten. Utifrån det material föreslås en systematisering av de olika metoder hur man arbetar som regissör med just personregi. Teoribakgrunden är Daniel Stern och Anders Brobergs utvecklingspsykologi å ena sidan; och de implicita teorierna i internationella skådespeleri/regihandböcker å andra. Resultatet visar att det finns en skillnad i regiarbetet när det gäller 7-12-åringar respektive 12-20-åringar. Med de yngre arbetar man utan text. Däremot bygger verksamheten i alla åldrar på stolpmanus som regissören arbetar fram med barnen utifrån improvisationer i en ömsesidig inspirerande process av att hitta-på och ta-upp. I nästa steg är huvuduppgiften för personregissörerna att hjälpa till att försätta barnen i den specifika stämningsfulla situationen som scenen kräver. Som personregins metoder (i alla åldrar) för finarbetet dyker många olika ”verktyg” upp: kognitiva (1) som att prata om ”varför” någon gör något (a), vad någon ”vill” med en handling eller mening (b) eller om hur man ska ”tänka” medan man spelar en mening (c); kroppsliga (2) som att hitta nya rörelsemönster och uttryckssätt (a) eller agera ”som-om” man vore själv rollfiguren (b); samspelsmässiga (3) som att ta upp impulser från den andres blick eller situationen själv. Hur sceneriet exakt ska se ut bestämmer man sent i repetitionsarbetet. Alla är överens om att personregins arbete utgör en unik och värdefull situation där en vuxen hjälper ett barn att hitta sin fantasi och att våga gestalta en annan varelse.

Thesis (Ph. D.)--University of Sydney, 2001. / Title from title screen (viewed Apr. 23, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Includes bibliography. Also available in print form.