<p>This practice‐led research enquiry sets out to develop and test a model of theatre practice that relates to the unique geographic, cultural and spiritual dimensions of Aotearoa/New Zealand. In this practice, actors are connected with their body and the earth (they have feet), archetypal qualities inherent in nature and culture are incorporated into training and performance (return of the gods), a sense of adventure and risk‐taking is emphasized, and the practice relates to the multiple cultures and communities of Aotearoa/New Zealand. Presence, defined as the ability to be sensorially alive in the moment, and site‐specific performance, a creative response to locality, emerged as two of the key strategies to connect with self, other and the environment. By investigating selected principles, strategies and values from the indigenous, pre‐European, Māori performing arts (whare tapere), devised theatre, the Michael Chekhov technique, and Japanese Noh theatre, an intercultural approach to site specific theatre evolved that interweaves the four pathways of collaboration, connection, exploration and transformation and their corresponding values. After considering the political and ethical issues of intercultural performance a number of principles to guide the process of intercultural exchange were formulated and tested. A vital component of this study was the creative development and performance of Ex_isle of Strangers – a site‐specific work developed in response to the tangible and intangible dimensions of Matiu/Somes Island. The research generated moments of practice that investigated the creative potential of residential devising processes and the transformative value of audience mobility in performances that involve physical and metaphorical journeying. These moments provided the participants (performers and spectators) time, space and opportunity to interact with one another and with the site they occupied, thus significantly increasing their level of physical and mental engagement with the work.</p>
Hope against hope: COVID-19 and the space for political imagination
