Transcreation of the Accent Class to the Online Platform

There and (not quite) back again: A theatre and performance instructional team’s journey through COVID-19 in Australia

“…You've got to get used to them, to get used to their mannerisms, their rhythms, because you've got to do a performance together (cited in Gorman et al, 2019: 217). Daken (2021) proposes that the transition of in-person learning to online learning can be seen as a creative process of "transcreation" that is best achieved when '(1) teachers enhance the way the virtual space is set up, (2) when embodiment is developed through kinaesthetic approaches, and (3) when students are allowed to connect more with their peers" (Daken, 2021, 16). In reference to kinaesthetic approaches, Gorman et al (2019, 220-221) recommend that 'when acting in a digital environment, the lack of the immediate touch of the hands and the skin must be replaced by other sensory means.'…”

“… Daken (2021) proposes that the transition of in-person learning to online learning can be seen as a creative process of “transcreation” that is best achieved when ‘(1) teachers enhance the way the virtual space is set up, (2) when embodiment is developed through kinaesthetic approaches, and (3) when students are allowed to connect more with their peers” ( Daken, 2021 , 16). In reference to kinaesthetic approaches, Gorman et al (2019 , 220–221) recommend that ‘when acting in a digital environment, the lack of the immediate touch of the hands and the skin must be replaced by other sensory means.’ In Semester 1 we had found ways to develop communication via digital word-based means but had missed a key element of theatre education – that of the senses and embodiment.…”