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WRIGHT, KAILIN Political Adaptation in Canadian Theatre Montreal & Kingston: McGill-Queen's University Press, 2020, 235 pp. If 2020 has taught me anything, it is that things cannot continue as they [...]

Effective teamwork skills are essential for success in an increasingly team-based workplace. However, research suggests that there is often confusion concerning how teamwork is measured and assessed, making it difficult to develop these skills in undergraduate curricula. The goal of the present study was to develop a sustainable tool for assessing individual teamwork skills, with the intention of refining and measuring these skills over time. The TeamUp rubric was selected as the preliminary standardised measure of teamwork and tested in a second year undergraduate course (Phase One). Although the tool displayed acceptable psychometric properties, there was concern that it was too lengthy, compromising student completion. This prompted refinement and modification leading to the development of the Team-Q, which was again tested in the same undergraduate course (Phase Two). The new tool had high internal consistency, as well as conceptual similarity to other measures of teamwork. Estimates of inter-rater reliability were within a satisfactory range, although it was determined that logistical issues limited the feasibility of external evaluations. Preliminary evidence suggests that teamwork skills improve over time when taught and assessed, providing support for the continued application of the Team-Q as a tool for developing teamwork skills in undergraduate education.

Encounter between 'I' and 'You' is a central feature of autobiographical performance as the performer attempts to communicate an intimate sense of what it means to be a particular self to a second-person assemblage of curious witnesses. Ostensibly, the intention is that through this performative encounter, knowledge is imparted and the stranger becomes less strange. RARE, created by playwright Judith Thompson and an ensemble of disabled performers with Down Syndrome, stages just such an encounter between the audience and the autobiographical real. Using the lens of disability performance theory, this analysis of RARE considers how all autobiographical performance is entangled in questions about how the encounter with the real is shaped and to what end. The ethical instability of the situation combined with the risks of failed transmission invite the question: Why do we watch? Drawing on Sara Ahmed's description of the source of fear in intercultural encounter with the stranger as founded in hybridity, this article traces several points of hybridity in RARE. First, RARE presents a thematic thread that reifies popular perception of Down Syndrome as itself characterized by an uncomfortable hybridity between child and adult, between dependence and independence. Second, the production's staging choices present the performers' bodies as hybrid, challenging mimesis with irrepressible presence. Finally, it will be shown that the autobiographical form in performance itself expresses a hybridity that unsettles theatricality. Ultimately, autobiographical encounter does not authentically illuminate what it means to be another, but instead confronts the means of encounter, generating productive self-reflexive disruption of ingrained biases about both autobiography and strangers. La rencontre du << Moi >> et du << Toi >> est un element central du jeu autobiographique, ou l'interprete tente de transmettre une vision intime de ce que signifie etre soi a un assemblage de temoins curieux. L'intention apparente de cette rencontre par la performance est de transmettre un savoir qui permet a l'etrange(r) de devenir moins etrange. La piece RARE, cree par la dramaturge Judith Thompson et une troupe d'interpretes ayant le syndrome de Down, met en scene une telle rencontre entre le public et le reel autobiographique. A l'aide de theories de la performance avec handicap, Stephenson analyse cette production et montre comment toute performance autobiographique est traversee par des questions sur la facon dont la rencontre avec le reel est faconnee et a quelles fins. L'instabilite ethique de la situation, associee au risque d'une transmission ratee, souleve la question suivante : pourquoi regardons-nous? Partant de la description de Sara Ahmed, pour qui la source de la peur dans la rencontre interculturelle avec l'etranger reside dans l'hybridite, Stephenson retrace plusieurs points d'hybridite dans RARE. D'abord, la piece suit un fil thematique qui concretise la perception populaire du syndrome de Down comme relevant d'une hybridite genante de l'enfant et de l'adulte, de la dependance et de l'independance. Ensuite, la mise en scene presente les corps des artistes sur scene comme etant de nature hybride et mettant la mimesis a l'epreuve d'une presence irrepressible. Enfin, Stephenson montre que la forme autobiographique de la performance, plutot que de mettre en lumiere authentiquement ce que signifie etre un autre, problematise la rencontre et nous force a confronter nos prejuges sur l'autobiographie et l'etranger., Near the end of RARE, the cast of nine disabled performers respond to the prompt 'You know a word I hate?' with a litany of words they have heard others [...]

Ryan Claycomb. Lives in Play: Autobiography and Biography on the Feminist Stage. Ann Arbor: U of Michigan P, 2012. 261 pp. ISBN 978-047211-8403, $55.00. For auto/biographical performance, one strand of [...]

SHERRILL GRACE AND JERRY WASSERMAN, eds. Theatre and AutoBiography: Writing and Performing Lives in Theory and Practice. Vancouver: Talonbooks, 2006; 352 pp. Theatre and AutoBiography is itself a work of [...]

The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Horspiel--but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is 'staged' before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan Coen, to write specifically for sound-only. In this article Jenn Stephenson describes the experience of 'watching' a radio play, and offers a theorization of its qualities and the effects on its audience. Jenn Stephenson received her PhD from the University of Toronto in 2003 and is now Associate Professor of Drama at Queen's University in Kingston, Canada. Her recent publications include articles in Theatre Journal, Journal of Dramatic Theory and Criticism, Studies in Theatre and Performance, and Theatre Research in Canada. She is co-editor of the 'Views and Reviews' section of Canadian Theatre Review. doi:10.1017/S0266464X10000059

HOW DOES IT FEEL?' 'HOW DOES IT FEEL?' (n). In an early scene of the play Goodness by Canadian playwright Michael Redhill (1), one character asks, 'How does it feel?,' [...]

This article examines the participatory action of autobiography in the audience in two recent performances. Private stories are transformed through public sharing, and iterative loops of question and answer open the performance texts to contingency and generate an emergent dramaturgy. Through experiences of emergence, the plays reshape our understanding of loss. Can autobiographical losses ever be redeemed? Is the act of autobiography itself a remedy or a betrayal? [ABSTRACT FROM AUTHOR]

The mixed case acronym, KMb, with its capital 'KM' and lower case 'b,' confuses my brain, conjuring some kind of Seussian unit of measurement like kilometres per megabyte. Upon second [...]