Tegan Arazny (Facilitator & Documenter)
Tegan is a strong advocate for the development of Theatre and the Arts in community settings and has been involved with numerous Applied Theatre programmes throughout her professional training and experience. Tegan graduated with a Master of Arts with Distinction in Applied Theatre from The Royal Central School of Speech and Drama in London. She has professional experience in Community Performance that promotes Young People’s expression and engagement through Puppetry and Theatre practices. As well as collaborating and performing with ERTH Visual & Physical Inc and Welsh theatre company PuppetSoup, she has co-directed and worked alongside Shop Front Arts Co-Op Junior Ensemble of 8-14-year old’s to create the original devised production, The Unknown. Tegan is currently working as Teaching Artist for Sydney Theatre Company’s ‘School Drama’. This is a Teachers Professional Development Program designed to improve teaching and learning by modelling the use of drama-based strategies with quality children's literature.
Robin Pascoe and Peter Wright: Promises, Promises, Curriculum Promises: Implementing a national drama curriculum...
The metaphor of a leaky boat has an apt poignancy for researchers following the publication of the Australian Curriculum: The Arts (Drama) and its adoption and adaption in Western Australia. There are lessons to...
Takahiro Watanabe: How can drama change learning of both teachers and children at school?
Introducing drama into school curriculum can impact how teachers learn during in-service training programs at school as well as how children learn in lessons. Not just discussing lesson plans or events in lessons but...
Tracey-Lynne Cody, Janinka Greenwood, Sharon Mazer, Christian Penny, and Jo Randerson: Aotearoa / New...
This locally focused panel was truly an inspiration - what follows is a selection of the panel’s words from the session…
“I’m going to position as a good thing because it allows people...
Alison O’Grady: Human Rights and Critical Consciousness For Personal Practice
Hath not a Jew hands, organs, dimensions, senses, affections, passions?... If you prick us, do we not bleed? The Merchant of Venice – Shakespeare Act 3, scene 1
How do we learn to be human...
Kelly Freebody: Distance through critique: Moving beyond the ‘common-sense’ of drama for social change
This paper urges us to use a critical lens to distance ourselves from common-sense understandings of what we do and why. It unpacks key logics in our field – including participation, community, social justice,...
Michael Finneran: Distance and tyranny: Understanding drama, democracy & politics
Drama claims a unique relationship with democracy, politics and citizenship. We assert it as our birthright: borne from the ancient Greeks to Brecht; from Boal to Dario Fo. How sustainable is the claim? How...
Mary Ann Hunter: On wayfinding and a precarious politics of presence
Educators, artists, children, star-gazers. We/they/you trade in primacies of encounter and the arts of being present – to oneself, to others, and to belongings of practice, region, interest and culture. They/you/we revel in relationality, curiosity, affect, and...
Carmel O’Sullivan et al: Teaching Artists Working in Inclusive Schools and Educational Settings
There is a long history of artists working in schools dating back to the 1950s, and Rabkin et al. (2011) claim that artists brought ‘a new kind of approach’ and ‘arts pedagogy’ into schools,...
Chilla Tamas and Erika Piazzoli: Who’s Culture Is It Anyway? An exploration of DiE...
International schools are a melting pot of students from a diverse range of cultures. They afford students unique opportunities to experience cultural immersion in their developmental years. In order to nurture intercultural understanding educators...
Dirk J Rodricks: Diasporic Intimacy in/through/with an Applied Theatre Methodology: Tensions and Possibilities for...
The notion of intimacy is connected to home and a diasporic intimacy, according to Boym (1998), is one that is not opposed to uprootedness and defamiliarization but rather is constituted by it. Reflecting on...