The concept of pedagogic frailty has been proposed as a unifying concept that may help to integrate institutional efforts to enhance teaching improvement within universities by helping to maintain a simultaneous focus on four key areas that are thought to impede development. The structure of these four dimensions and the links that have been proposed to connect them are explored here through the analysis of interviews with academics working in a variety of disciplinary areas. The application of concept mapping in this process allows us to view the variable connections within and between these dimensions and the personal ways they are conceptualised by academics working across the heterogeneous university context.

This article is an autoethnographic account of my journey from theatre stage manager to academic stage manager. Performing arts education and training in Higher Education is a diverse field, ranging from small private institutions to large research lead universities. Professional practitioners (performers, stage managers, technicians, designers, directors, etc.) are sought by all types of institution to share their expertise in teaching, yet find themselves working in a world that is familiar (the theatre) but at the same time alien (the academy). Those who make a successful transition find a way to reconcile these contrasting worlds. I hope, through this paper, to contribute to discussion of the challenges this transition entails through critical reflection and contextualisation of my personal journey.

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