Challenges Associated with Assessing Teaching Delivery in an Embodied, Experiential and Expressive Learning Environment: Performance Practice Training and Pro-Teaching

Abstract

The peer review and observation of teaching (PRO-Teaching) discussed in this chapter is based on my facilitation of a professional studies introductory acting class for first semester first year students – Introduction to Performance Skills. I reflect on the PRO-Teaching model from a performance (theatre) technique delivery position that advocates the implementation of embodied experiential and instinctual behavioural practice as learning. Embodied learning is ‘the enactment of knowledge and concepts through the activity of our bodies and as Nathan (2012) posits is a powerful tool for learning’ (p. 445). Experiential learning in performance training is in many ways linked to 20th century theories espoused by scholars such as Dewey, Jung, Paiget and others. Learning is discovery oriented and as such explores processes that draw out individuals’ beliefs and ideas. Learning is creative process based and advocates that individual and collective conflicts drive learning and development. Learning occurs when students are able to adapt to imagined or created worlds and in the ‘synergetic transactions between person and environment’ (Kolb & Kolb, 2005, pp. 194–195). Experiential learning in performance scholarship posits that experiencing and expressing individual behaviours and emotions is central to performance practice. Performance learning is a process of creating then re-creating social and cultural knowledge in the performance paradigm and as such knowledge in and of performance results from a blending of knowledge that is an acquisitive, active and transformative experience. Diverting from traditional methods of higher education delivery, performance scholarship accesses more interactive, experiential and embodied approaches in comparison to other fields. As Kolb and Kolb (2005) suggest, arts training is professional learning that ‘integrates theory and practice into showing’ (p. 833).