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The Australian Professional Standards for Teachers (AITSL, 2011) stipulate that graduating teachers need to be classroom-ready and able to perform at a 'graduate standard'. However, recent research indicates that nearly 50% of beginning teachers lack readiness, are overwhelmed with stress, and will leave the profession within five years. This paper seeks to elucidate this disconcerting reality by providing a nuanced focus on the experiences of beginning drama teachers. Findings indicate that while participants in this study began feeling confident and ready for teaching drama; they were largely unprepared for the unwritten requirements of the profession -- namely, coping with systems, policies and bureaucracy - and extensive extracurricular responsibilities. This article posits several strategies for enabling beginning drama teachers to successfully 'manage' their induction into the profession, and ultimately achieve teacher identity salience.

This paper explores the hyper-performative expectations of early career teachers (ECTs) in the context of neoliberal education assemblages. The need to support and retain beginning teachers is a salient issue in the context of troubling rates of teacher attrition. The study explores how ECTs perceive teacher identities in response to national standards. Our research revealed that ECTs held concerning conceptions of 'quality teaching' that are largely constructed through discourses of competition and job insecurity. ECT subjectivities were heavily influenced excessive extra-curricular hours, high-stress environments, and performative school cultures. This paper concludes that hyper-performative expectations of ECTs and insecure patterns of employment contribute to teacher attrition.

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 paper explores the relationship between early career teachers' (ECTs) work identities, neoliberal education assemblages, and mandated professional standards. The task of supporting and retaining beginning teachers has received considerable attention in recent years in the face of alarming rates of teacher attrition internationally. The study, undertaken in Western Australia, explores how ECTs construct identities in response to competitive educational discourses, high levels of individual stress, insecure employment, excessive work-loads and limited formal support. The Australian Professional Standards are an example of 'organisational learning' that aims to support ECTs. However, our research suggests that in practice a managerial 'tick the box' approach to addressing the Standards renders them ineffective. We consider how embodied teacher identities are moulded in neoliberal secondary schools through concepts of performativity. This paper concludes that the performing arts can offer creative, collaborative and impassioned approaches to encouraging authentic teacher identities to support and retain ECTs.

The Australian Professional Standards for teachers attempts to regulate the profession and improve teacher quality. Yet the standardisation of teachers' work has attracted criticism from researchers who assert that a "one size fits all" model for judging teacher quality fails to recognise the affective, enactive and relational aspects of teaching. Given the interactive and interpersonal nature of teaching drama, this concern has salience. Our research into the experiences of early-career drama teachers reveals the positive influence these teachers have on their students and in their schools. Of particular note, are the strong role models they have become through the development of authentic, professional relationships where students feel supported and empowered to explore their feelings, achieve academically and flourish as human beings. These relationships are co-constructed during extra-curricular activities, namely in production rehearsals, where together they work towards common goals. Our findings suggest a case can be made for re-evaluating the process of judging teachers against a standardised set of criteria that neglects to capture the nuances of drama education and the passion, commitment and relationality of early-career drama teachers.

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 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.

In recent years, the much touted "difficult economic times" has resulted in a drastic reduction in arts and education funding in western capitalist nations (Fowles 2014; Henwood and Featherstone 2013; Murray and Erridge 2012; Smith 2013). Combined with this "age of austerity," schools have been subjected to decades of neoliberal education reform policies and programs such as the No Child Left Behind Act and the Race-to-the-Top funding in the United States and The Academies Act in the United Kingdom. These and other education "reforms" promote high-stakes testing, accountability, and competitive markets (Hursch 2007; Loh and Hu 2014). How does this zeitgeist of austerity and reform affect arts education at the local level where practice is enacted? Many curriculum changes have been made as a result of these reforms. Consequently schools are primarily judged on the grades students achieve for English, mathematics, science and sometimes languages. This often means that subjects such as art, dance, drama, and music are among the first to be cut from the curriculum resulting in fewer options for students, as schools direct students to focus on so-called "academic" courses in order to attain the requisite data to be ranked as a "good" school. By way of example, Appleton (2014) reports that in the UK, 23% of schools have dropped drama in favor of "academic subjects." To acquire additional information about this trend, the authors performed an ethnographic research project based on semi-structured interviews with 15 drama teachers and 11 of their ex-students in Western Australia across government, Catholic, and independent school systems. Their findings showed that these responses are not isolated to one or two countries. For example, in two of the 15 schools represented in the study, dance as a subject had been dropped despite a strong desire for it by students. Speculating on a reason for this change, one student noted, "I think with subjects like dance they look at other countries like Asia and say, 'They do all science and all maths and they don't focus on the arts. They're smarter so we need to compete with that'" (Elizabeth, student, independent school). Interestingly, this desire by students themselves to do more in the arts is consistent internationally (Palmer Wolf 2014). Students also report that effects of the "reforms" go beyond curriculum choice to include the use of space--physical space such as theater, space on the timetable/curriculum, and emotionally safe space for teachers and students to express themselves freely. These forms of space are forms of capital and are impacted by the dominant neoliberal culture of competitive performativity.

This paper explores the hyper-performative expectations of early career teachers (ECTs) in the context of neoliberal education assemblages. The need to support and retain beginning teachers is a salient issue in the context of troubling rates of teacher attrition. The study explores how ECTs perceive teacher identities in response to national standards. Our research revealed that ECTs held concerning conceptions of 'quality teaching' that are largely constructed through discourses of competition and job insecurity. ECT subjectivities were heavily influenced excessive extra-curricular hours, high-stress environments, and performative school cultures. This paper concludes that hyper-performative expectations of ECTs and insecure patterns of employment contribute to teacher attrition. [ABSTRACT FROM AUTHOR]

This paper explores the relationship between early career teachers' (ECTs) work identities, neoliberal education assemblages, and mandated professional standards. The task of supporting and retaining beginning teachers has received considerable attention in recent years in the face of alarming rates of teacher attrition internationally. The study, undertaken in Western Australia, explores how ECTs construct identities in response to competitive educational discourses, high levels of individual stress, insecure employment, excessive work-loads and limited formal support. The Australian Professional Standards are an example of 'organisational learning' that aims to support ECTs. However, our research suggests that in practice a managerial 'tick the box' approach to addressing the Standards renders them ineffective. We consider how embodied teacher identities are moulded in neoliberal secondary schools through concepts of performativity. This paper concludes that the performing arts can offer creative, collaborative and impassioned approaches to encouraging authentic teacher identities to support and retain ECTs. [ABSTRACT FROM AUTHOR]

The Australian Professional Standards for teachers attempts to regulate the profession and improve teacher quality. Yet the standardisation of teachers' work has attracted criticism from researchers who assert that a "one size fits all" model for judging teacher quality fails to recognise the affective, enactive and relational aspects of teaching. Given the interactive and interpersonal nature of teaching drama, this concern has salience. Our research into the experiences of early-career drama teachers reveals the positive influence these teachers have on their students and in their schools. Of particular note, are the strong role models they have become through the development of authentic, professional relationships where students feel supported and empowered to explore their feelings, achieve academically and flourish as human beings. These relationships are co-constructed during extra-curricular activities, namely in production rehearsals, where together they work towards common goals. Our findings suggest a case can be made for re-evaluating the process of judging teachers against a standardised set of criteria that neglects to capture the nuances of drama education and the passion, commitment and relationality of early-career drama teachers. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM PUBLISHER]