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An Exploration of Space, Text, Performativity, Gender and Becoming in Senior Secondary Drama Classrooms

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An Exploration of Space, Text, Performativity, Gender and Becoming in Senior Secondary Drama Classrooms More than princess girls and “grrr” heterosexual dudes: An exploration of space, text, performativity, gender and becoming in senior secondary drama classrooms. Kirsten Lambert BA. BEd, BTheol. Hons. This dissertation is the report of an investigation submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy at Murdoch University. 2016 1 Declaration of authorship I declare that this dissertation is my own account of my research and contains, as its main content, work that has not previously been submitted for a degree at any tertiary institution. Kirsten Lambert 2 Table of contents Abstract…………………………………………………………………………………. 5 Acknowledgements……..…………………………….…………………………..…… 6 List of publications ………………..……...…………………………………….….…...7 Section I Critical Introduction: Theoretical Frameworks Methodology and Methods 1. Introduction……………………………………………………………………... 9 2. Rationale for the study …………………………………………….…………11 3. Significance of the study ………...…………………………....………….…..18 4. Research questions.……………………………………….……………….…19 5. Review of the literature ………………..…………………..……………….…21 a. Senior secondary drama classrooms …………………..…………...21 b. Space…………………...……………………………….….…...…...…22 c. Text ……………………………………….……………….……...….…23 d. Performativity……………………………………………….………….25 e. Gender..…………………………………………………………………32 f. Becoming…………………………………….……………………...….36 6. Theoretical frameworks ………………………………………………………42 a. Deleuze and Guattari ………………………………………...……….43 b. Poststructuralism and post-humanism ……………………….….….48 c. Critical theory …………………………………………….……………51 d. Post-humanist Feminism ………………………………………..…...52 e. Mixing Different Interpretive and Theoretical Frameworks …….…54 f. Critical Ethnography and Autoethnography ………………………..57 g. Ethnography and autoethnography ……..………….…….………...57 h. Case study design ………………………………………………........58 7. Methods a. Research sites………………………………….….……………….….60 b. Data collection……………………………………………..……….….61 c. Selection of participants/sampling………………………………..….62 d. Data analysis……………………………………….………….……….63 e. Ethical considerations…………………………………………...…....65 8. Glossary of terms…………………………………………………………………………… 67 3 Section II Published Articles 1. Embodiment and becoming in secondary drama classrooms: The effects of neoliberal education cultures on performances of self and of drama texts. Critical Studies in Education ……………….……………..72 2. Desiring machines and nomad spaces: Neoliberalism, performativity and becoming in senior secondary drama classrooms. Discourse: Studies in the Cultural Politics of Education …………..……..….……..99 3. More than “sluts” or “prissy girls”: Gender and becoming in senior secondary drama classrooms International Journal of Education and the Arts …………………….……..…...................................................119 4. Performativity and creativity in senior secondary drama classrooms NJ Drama Australia Journal………………………….……..……………..…145 5. Data-driven performativity Neoliberalism’s impact on drama education in Western Australian secondary schools. Review of Education, Pedagogy and Cultural Studies…………………………………….……164 Section III Conclusion Discussion: Implications, limitations and future directions ……………...185 Outcomes …………………………………………………………………….191 Contribution ……………………………………………..……………………195 Implications ………………………..……………………….………………...197 Appendix A: Data Collection Questions………..…………………………….…….…….199 References ………………………………………………………………..…..201 4 Abstract Late adolescence is a critical time in the formation of a young person’s sense of self with studies pointing to the senior secondary drama classroom as a generative space for this to occur. What is not yet clear is the importance of context, and particularly the powerful forces of neoliberal times, in shaping and potentially delimiting young people’s explorations of gender and life trajectories. More specifically, through the texts students study and the characters they embody, personality and desires are moulded by capital in ways hidden from individual control. Drawing on 15 drama teachers and 13 of their post compulsory students from government, Catholic and independent schools in Western Australia from a variety of socio-economic backgrounds, this dissertation examines the formation of identity/ies in the context of students’ embodiment of characters from proscribed texts in the senior secondary drama classroom and asks: how does the embodiment of characters in texts in year 12 drama empower and constrain adolescent becomings in contemporary times? Year 12 is the final year of schooling for students in Australia. Framed through a critical, post-humanist ethnographic methodology, the theories of Butler, Foucault, Deleuze and Guattari are utilised to examine how these forces and “becoming,” as a process of change and resistance, interact to create something new. Second, embodiment is considered through a neoliberal culture of competitive performativity, with gender considered third. Fourth, drama education and creativity are highlighted and linked in generative ways, with consideration then given to the ways that the contemporary zeitgeist impacts on drama education itself in uncertain times. The study contributes to our understanding of neoliberal education systems, whilst focusing specifically on adolescent becomings in drama. The research revealed evidence of a culture of performativity in Western Australian drama education. This is manifest in fewer subject choices offered in schools that limit drama’s availability, “data-driven” curriculum implementation, mechanisms of surveillance of teachers, and deleterious effects on students and teachers in schools from the lowest socio-economic backgrounds. Nevertheless, despite a pervasive culture of performative neoliberalism, teachers and students find creative lines of flight from normative educational structures and gender binaries in the safe and open space of the drama classroom. 5 Acknowledgements This PhD journey has been an exciting, enriching experience. This is the occasion to thank people who helped me on my journey. I would sincerely like to thank my chief supervisor, Associate Professor Peter Wright. This journey would not have been possible without his support, encouragement and wisdom. I am truly indebted to Associate Professor Wright for all of his knowledge, support and direction over the years. I will miss our many engrossing discussions over coffee at Club Murdoch. I cannot put into words the immeasurable respect I have for Associate Professor Wright’s knowledge and complete devotion to arts education and his students. He has helped me develop as a person and as an academic, and for this I will be forever grateful. I would also like to sincerely thank my co-supervisors, Professor Jan Currie and Mr Robin Pascoe. I am very appreciative of Professor Currie’s encouragement, wisdom and careful editing. I am especially grateful that she kept me on as a student when she moved to the United States. Professor Currie has so much knowledge and experience in the area of gender and critical theory and I would not have been able to complete this research without her efforts. I first met Mr Robin Pascoe as a young teacher where I found his poise, knowledge and experience in drama education quite intimidating. However, when I got to know him through marking Western Australian Certificate of Education exams I realised what a warm, kind and dedicated person he was and I was very excited to be able to have him as a co-supervisor for my research. I am thankful for his extensive knowledge of the drama curriculum in Western Australia and his willingness to share this with me. This research would not have been possible without his input. Thank you for giving me the opportunity to work with you both. I would especially like to thank Val Marsden for her insight, careful reading and outstanding editing of this document. Val is my inspiration, my mentor one of my closest friends. She is also the best mother any daughter could ever wish for. I am grateful to all of the willing participants in this research. None of this would have been possible without their complete trust and eagerness to be involved in data collection. Finally, this PhD journey would not have been possible without the unwavering support and humour from my husband, Ross Lambert. His tolerance, patience and willingness to put up with my obsessive studying will be forever appreciated. He has always been my rock and my best friend. To my seven huskies – thank you for all of the cuddles, the walks, the sledding fun and the fur. 6 Overall thesis structure This is a thesis by publication. Section one forms the introduction to the thesis, including the rationale, aims and the study’s conceptual and methodological grounding. Section two contains the final published or in-press articles. Section three presents the main findings and conclusions of this research, including future research directions. This thesis has some distinctive characteristics. First, scholarly articles published in journals make up about 80 per cent of the document and these form the core of the thesis. Sections 1 and 3 bookend these published chapters and provide coherence and extension to the thesis. The sections that form the introduction and conclusion have been included to provide additional contextual and discursive elements. It also should be noted that while a more orthodox thesis might be typified by consistency in writing styles between chapters, this thesis features an element of overlap where chapters have covered some aspects of the research that are again
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