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Full Text, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), School of Hum, Lang & Soc Sc, Arts, Education and Law, The primary aim of this research is to contribute to existing Western actor training methods that explore the experience of ‘presence’ in actor training environments, through the construction of a suite of exercises, formulated from the Japanese psychophysical performance practice of ankoku butoh (‘dance of darkness’). The research differentiates between the states of ‘being present’ and of ‘having presence’, with ‘being present’ equivalent to being in the moment, and ‘having presence’ representing an actor’s authentic presence as perceived by others. Subsequently, exercises derived from this research are specifically designed to develop each state individually, and specifically in the order of ‘being present’ and ‘having presence’. The process of ‘de-domestication’, as discussed in this research, and in its application in ankoku butoh training, refers to the elements of awareness, discipline and energy, experiences that this research posits are central to the development of presence as a performance technique. Utilising a mixed methodology of action research and reflective practice within the research framework, the study incorporated two action cycles of practical workshops whereby actor-participants experienced ankoku butoh-derived exercises to examine the possibilities of enhancing presence in actors. Cyclic principles of development, action, practice and reflection were utilised to determine if/how the exercises generated or encouraged the development of the states of ‘being present and of ‘having presence’ in the participants. The outcome of the research was the creation of a suite of exercises formulated from ankoku butoh’s process of de-domestication that may be used for enhancing presence in actors. Further applications of the exercises formulated from this study may contribute to the development of presence in other non-acting physical training disciplines such as martial arts.

Full Text, Thesis (Masters), Master of Arts Research (MARes), School of Hum, Lang & Soc Sc, Arts, Education and Law, This study addresses a current gap in Australian transition-from-care literature around the social support needs of young people transitioning from care. The purpose of the study was two-fold; to reveal insights around social support needs and to investigate how an applied drama process facilitated the generation of knowledge and supported participation and engagement among research participants. An overarching Applied Theatre as Research (ATAR) methodology was adopted which utilised applied drama techniques in the development of a participatory workshop positioning participants as co-researchers. Participants with a transition-from-care experience took part in both the workshop and interviews, which were conducted alongside an interview with a professional which provided a service-provider perspective. Findings revealed the importance of the nature of relationships – and relational qualities – over the number, presence, or absence of certain relationships within a young person’s network. The variety contained within a young person’s social network in their lead up to transition was also identified as a marker for a more robust and satisfying level of support into adulthood. Data also revealed systemic barriers to the development of social support and the maintenance of relationships, particularly those with peers and family. The applied drama process highlighted the disparity of experience for young people transitioning from care and elicited a range of emotions towards transition and social support not otherwise evident from the interviews alone. The methods adopted during the workshop generated positive feedback from participants, and provided a framework for group collaboration, shared meaning-making, and reflection on participants’ personal experiences and those of their peers. There are both research and practice implications for this research. The findings revealed areas for future study and suggested that participatory and applied drama methods may be useful

The Applied Theatre Reader is the first book to bring together new case studies of practice by leading practitioners and academics in the field and beyond, with classic source texts from writers such as Noam Chomsky, bell hooks, Mikhail Bakhtin, Augusto Boal and Chantal Mouffe. This new edition brings the field fully up to date with the breadth of applied theatre practice in the twenty-first century, adding essays on playback theatre, digital technology, work with indigenous practitioners, inter-generational practice, school projects and contributors from South America, Australia and New Zealand. The Reader divides the field into key themes, inviting critical interrogation of issues in applied theatre whilst also acknowledging the multi-disciplinary nature of its subject, crossing fields like theatre in educational settings, prison theatre, community performance, theatre in conflict resolution, interventionist theatre and theatre for development. A new lexicon of Applied Theatre and further reading for every part will equip readers with the ideal tools for studying this broad and varied field. This collection of critical thought and practice is essential to those studying or participating in the performing arts as a means for positive change.