Incite/Insight Spring-Summer 2019 Incite_Insight—Spring_Summer 2019 Final | Page 22

questions allowed me to assess the
students’ interpretations via email
and dialogue with them further
(email also allowed me to keep an
accessible and timestamped record
of their thinking). With the students’
questions in hand, I met up with the
author (or, in one case, called) and
relayed the students’ questions. Using
my iPhone or laptop, I recorded each
interview. The recordings were sent to
the students in Alabama as a private
file (The University of Alabama Box
cloud is preferred in accordance with
FERPA compliance).
I chose this method for the following
reasons:
By recording the interview, more
scheduling flexibility was allowed,
making it easier to arrange an
appointment with the author.
Additionally, by recording the
interview in a controlled way, we
avoided technological hiccups
which often thwart live-streamed
classroom forums.
The recordings gave the students a
tangible record of how the author
responded to their questions—which
they could reference and cite for the
remainder of the semester.
By having every student submit
a question, I was able to ensure
that each student’s question got
answered—making time for students
who are typically shy or uninvolved
(and managing overly-dominating
conversationalists).
To prepare the students for this
endeavour, I created a culture of
digital engagement early on in
the semester. Via live-stream, they
dialogued with Shannon Flaherty
and Chris Kaminstein, the co-artistic
directors of the award-winning
Goat in the Road Productions, about
creating plays with young students
in New Orleans. The students also
Skyped with New York City poet
INCITE/INSIGHT 22
Donnie Welch about instructing
poetry curriculum for students on
the Autism spectrum. Thus, a routine
for online video engagement was
established.
I sent the students’ questions to the
authors ahead of time, so they could
prepare pithy responses. There would
only be one take—no edits.
Several profound insights were
shared from this method of
instructional engagement. Below, are
some jewels from these interviews
where three distinguished educators
from around the country offer
their insights on teaching theatre
performance to the next generation
of American educators at The
University of Alabama.
Insights
Dr. Christina Marín of Phoenix
College in Phoenix, Arizona
Dr. Christina Marín is the Program
Director of Theatre and Film at
Phoenix College. Her work as a
human rights artist and pedagogue
has manifested in a variety
of educational settings from
elementary schools to graduate
programs. Students read Marín’s
essay, “What You Don’t Know CAN
Hurt You,” published in Peter Duffy’s A
Reflective Practitioner’s Guide to (mis)
Adventures in Drama Education—or—
What Was I Thinking?
On keeping calm and maintaining
peace of mind.
“It’s a skill that we develop over
time as educators. I look back on
my own teaching and realize how
nervous I was when I first started.
To paraphrase Maxine Greene,
the day you stop being nervous
when you go in front of students
to teach them is the day you need
to quit teaching. It’s nerve-racking
to think that something you say
or do could have an impact. It
happens with time. If you believe
in a democratic classroom that’s
rooted in community....the classroom
is a space where both teacher and
student can wield power....we never
relinquish all the power, but you
never take all of the power....it doesn’t
reside with either party, like teacher
or student.”
On preparing yourself to do theatre
education work at an institution.
“Up front communication is key.
It’s not always possible, but it’s
key. Asking questions like ‘Is there
anything about your policies I should
know?’—or—’Are there any taboo
subjects that are off limits?’ They may
give you some leeway if they believe
in the work you’re doing. So, make
sure they don’t think that you’re going
in there to disrupt the status quo—of
course, that may happen in the work
that we do—but they don’t need to
be on the defensive before you walk
in. As soon as you know you may be
going into a new program or a new
school, try reaching out to get as
much information as possible.”
On working with students who don’t
want to participate.
“I am a firm believer in the Power
of the Egress—which I learned in
my undergraduate education from
Northwestern University from one of
my mentors, Rives Collins. I’ve used
this device from fourth graders up to
grad school students and on every
occasion, it’s worked like a charm.
The Power of the Egress states
that if for any reason a student or
participant wants to opt out of an
exercise or discussion, they can do so
by invoking the Power of the Egress.
Here are some key components: no
one has to say why they’re invoking
the Power of the Egress, but they may
share if they would like you. They
can come back into the exercise
whenever they’re ready. Here’s the