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This article examines the relationships between the embodiment of dramatic characters, gender, and identity. It draws on ethnographic data based on observations and interviews with 24 drama teachers and senior secondary drama students in Western Australia. We explore how student becomings in year 12 drama classrooms are mediated and constituted through socially overcoded gender binaries in a dominant neoliberal culture of competitive performativity. We ask the questions: What constructions of femininity and masculinity are students embodying from popular dramatic texts in the drama classroom at a critical time in their social and emotional development? Are these constructions empowering? Or disempowering? What factors are influencing teachers’ choices of texts for their predominantly female students? Our research shows that what is delimiting about this potentiality in a time of identity exploration and formation are the constraining gender-binary roles available to young women particularly, and the performative pressures teachers are experiencing.

This article examines the relationships between the embodiment of dramatic characters, gender, and identity. It draws on ethnographic data based on observations and interviews with 24 drama teachers and senior secondary drama students in Western Australia. We explore how student becomings in year 12 drama classrooms are mediated and constituted through socially overcoded gender binaries in a dominant neoliberal culture of competitive performativity. We ask the questions: What constructions of femininity and masculinity are students embodying from popular dramatic texts in the drama classroom at a critical time in their social and emotional development? Are these constructions empowering? Or disempowering? What factors are influencing teachers’ choices of texts for their predominantly female students? Our research shows that what is delimiting about this potentiality in a time of identity exploration and formation are the constraining gender-binary roles available to young women particularly, and the performative pressures teachers are experiencing.

This article explores the effects of neoliberalism and performative educational cultures on secondary school drama classrooms. We consider the ways Deleuze and Guattari’s schizoanalysis and Butler’s concept of gender performance enable us to chart the embodied, relational, spatial and affective energies that inhabit the often neoliberal and heterosexually striated space of the drama classroom. These post-humanist analyses are useful methodological tools for mapping the complexities of student becomings in the space context of the secondary school. We also show how Foucault’s governmentality and Ball’s theory of competitive performativity are particularly salient in the context of immanent capitalism that shapes the desires of its subjects. These frameworks, when combined, can be useful in critiquing neoliberal educational assemblages and in indicating emerging deterritorializations and lines of flight in teachers and students.

This article examines the intersection between the senior secondary drama classroom, creativity and neoliberalism. Informed by a research project involving fifteen West Australian drama teachers and thirteen students, it considers the drama classroom as one site where tensions between the performative needs of neoliberal education and the more humanistic desires that drama teachers embody are enacted. This paper suggests that drama education can be a powerfully transformative vehicle for creative and innovative thinking because of its spatially unique classroom environment and embodied nature. However, collisions between rhetoric and reality, social good and economic return, can mean that young people are denied opportunities for choice and the capability development that drama education brings.

This article explores the effects of neoliberalism and performative educational cultures on secondary school drama classrooms. We consider the ways Deleuze and Guattari’s schizoanalysis and Butler’s concept of gender performance enable us to chart the embodied, relational, spatial and affective energies that inhabit the often neoliberal and heterosexually striated space of the drama classroom. These post-humanist analyses are useful methodological tools for mapping the complexities of student becomings in the space context of the secondary school. We also show how Foucault’s governmentality and Ball’s theory of competitive performativity are particularly salient in the context of immanent capitalism that shapes the desires of its subjects. These frameworks, when combined, can be useful in critiquing neoliberal educational assemblages and in indicating emerging deterritorializations and lines of flight in teachers and students.

This article examines the intersection between the senior secondary drama classroom, creativity and neoliberalism. Informed by a research project involving fifteen West Australian drama teachers and thirteen students, it considers the drama classroom as one site where tensions between the performative needs of neoliberal education and the more humanistic desires that drama teachers embody are enacted. This paper suggests that drama education can be a powerfully transformative vehicle for creative and innovative thinking because of its spatially unique classroom environment and embodied nature. However, collisions between rhetoric and reality, social good and economic return, can mean that young people are denied opportunities for choice and the capability development that drama education brings.

This paper explores Deleuze and Guattari's schizoanalysis in relation to student and teacher becomings and the way these are actualised within the neoliberal and heterosexually striated spaces of the secondary school assemblage. Deleuze and Guattari considered a narrow approach to education problematic and called for creativity as a site of ‘resistance’. Drama is one subject rich with potentiality for students to strengthen their creativity and ‘speak back’ against the neoliberal project. What our research revealed is how the drama classroom is an open, dynamic space where students can embody different identities at a critical time in their adolescent development. What is delimiting about this potentiality is the proclivity of teachers and students, as desiring machines, to conform to the dominant neoliberal culture of competitive performativity. The paper proposes that schizoanalysis offers new insights for mapping complex desire-flows and embodied identities through and against the dominant performative and heterosexist culture.

This paper explores Deleuze and Guattari's schizoanalysis in relation to student and teacher becomings and the way these are actualised within the neoliberal and heterosexually striated spaces of the secondary school assemblage. Deleuze and Guattari considered a narrow approach to education problematic and called for creativity as a site of ‘resistance’. Drama is one subject rich with potentiality for students to strengthen their creativity and ‘speak back’ against the neoliberal project. What our research revealed is how the drama classroom is an open, dynamic space where students can embody different identities at a critical time in their adolescent development. What is delimiting about this potentiality is the proclivity of teachers and students, as desiring machines, to conform to the dominant neoliberal culture of competitive performativity. The paper proposes that schizoanalysis offers new insights for mapping complex desire-flows and embodied identities through and against the dominant performative and heterosexist culture.