Theatre Group Research Articles

In her hands: navigating [sexual] identity and gender roles in a Portuguese graphic novel for young adults by Joana Estrela

ABSTRACT Visual narratives, such as graphic novels and comic books, are powerful forms of literature that use verbal and pictorial modes, in intersemiotic complementarity, making them an effective tool to tackle social issues, namely to explore hidden or sensitive topics in a thought-provoking, entertaining, and inspiring way. This is the case in the last graphic novel published by a young Portuguese writer and illustrator for children and young adults, Joana Estrela, the recipient of numerous prestigious awards. In this study, then, we intend to focus on Raquel, the protagonist in Pardalita, who takes her future into her hands and ventures to navigate the waters of self-discovery, crossing prejudice and challenging gender role stereotypes. Through her theatre group, she enters a third space that promotes inclusivity and empowers individuals regardless of gender. By analysing the multimodality that characterises this book, we come to realise the synergistic and transformative potential that visual narratives hold.

On Atmosphere

This paper traces the work of Tosquelles, Oury and Guattari in transforming psychiatric care by reshaping the "atmosphere" of asylums. Breaking down asylum walls and hierarchies, Tosquelles sought to liberate patient expression and agency. Oury built on this through the notion of "antennas" attuned to environmental subtleties often imperceptible to clinicians. For both, transforming institutional spaces was paramount. Guattari helped reveal how such environments could foster the emergence of new subjectivities. For all three, the sustained “atmosphere” was a central concern. Building on this work, I discuss my co-founding of the Ueinzz theatre group, which provides an artistic outlet for individuals experiencing psychological distress and fosters radical solidarity by empowering marginalized subjectivities. Such micropolitical interventions, I argue, are vital given the contemporary context of pervasive "normo-pathy" and pressures imposing psychic confinement.

Ukrainian theater as an instrument of cultural diplomacy and its role in modern integration processes

The purpose of the article is to determine the significance of theater art in the cultural diplomacy of Ukraine. The object is the cultural diplomacy. The subject is the role of theater in cultural diplomacy.
 The relevance of this article lies in the need to understand the historical role of the theater in the formation of the identity of various nations It has become quite natural that countries actively use their own dramatic art in presenting themselves to the world community.
 The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological and methodological discourse. It is noted that the theater operates within cultural diplomacy in four main ways, each of which implies different expectations of interaction with the target audience. At the first and simplest level, a theatrical performance can simply be a pleasant and interesting gift to the audience; at the second level — a way of forming perception and informing; at the third level, the theatrical performance becomes a mechanism for creating interaction between the source and target groups; and at the fourth level — it can be part of the strategy for the development of art and the creative public sphere in a given country.
 The results. 1. The concept of people-to-people contact is extremely important in cultural diplomacy because it facilitates access to intercultural dialogue, thus allowing people to learn more about each other, other cultures and different ways of life. The advantage in this case is that existing prejudices are overcome in a casual and informal way. In addition, cultural diplomacy and its various projects contribute to openness and tolerance for the development of civil society. 2. Ukrainian cultural diplomacy has some experience of involving theatrical art in the presentation of Ukrainian culture abroad, but in general it can be characterized as sporadic, non-systematic, and ideological. 3. Ukrainian theater faced the task of not only actualizing old and finding new artistic images and symbols, in order to form the proper image of the country, but also to form a certain basis for the effective implementation of the tasks of cultural diplomacy of Ukraine, which is appropriate in relation to the challenges of the time. 4. Over the past decades, the theater festival has become an inseparable component of the artistic life of Ukraine, as well as the cultural diplomacy of our country. Theatrical festivals gained tangible audience sympathy and turned out to be not only an important event in the artistic life of our country, but also realized the understanding of the “brand”, becoming a symbol of quality for connoisseurs.
 The scientific novelty of the research lies in the fact that the theater can be a diplomatic mechanism for initiating two-way conversation and exchange. The means of implementing this task can vary from promoting the staging of works by foreign theater groups in one’s own country to attracting foreign producers and directors for joint development, to selecting plays with the aim of creating new discussions.
 The practical significance of the article lies in the fact that the scientific analysis allowed us to identify the cultural diplomacy as a type of diplomacy that uses the country’s cultural heritage as a means to achieve its goals: art, in particular theater, cinema, music, literature, and education.

Can the village speak? Leftist Assignment Theater and documentary theater in Taiwan

ABSTRACT This essay examines the genre of documentary theater with a particular focus on environment issues by the theater group “Assignment Theater” (chaishi juchang). Chung Chiao, the founding leader of Assignment Theater, was inspired by Taiwanese leftist writer Chen Ying-zhen and began his collaboration with People’s theater groups in many Asian countries since the 1990s post-Cold war period. Chung investigates histories, social issues and current circumstances through testimonial performances and documentary dramas with villagers, aiming to develop esthetic and critical reflections on social and cultural issues. In 2016, Chung directed and produced a work of documentary theater entitled Return to Hometown: A Story of Taixi Village by focusing on how villagers were suffering from severe air pollution, marginalization, and the complexity of their experiences since the launch of the Formosa Plastics Corp’s (FPC) sixth naphtha cracker complex in 1998. The essay starts with a critical question raised by Spivak’s “Can the Subaltern Speak” in the hope of re-locating the question in Return to Hometown. It continues to explore how Assignment Theater positions itself in the historical context of the leftist movement in post-war Taiwan by paying attention to the people. By re-examining the above, the essay discusses the ways in which environmental discourses, the village people, documentary theater, and the imagined subject of Taiwan nationality, etc. are interwoven.

Dwelling adaptation in a particular resident through patron-client relationship

This research is conducted to determine the underlying reasons a particular theater group adjusts to a certain setting and conditions in order to maintain its continued presence in a location. One of the reasons previously identified for the acceptance and adaptation is the low affordability of housing. Therefore, qualitative design and grounded theory method were applied, and the habitation form of the group was observed to determine their dwelling adaptation. The results showed that the role of the government as patron was very important for the survival of groups, specifically in providing increasingly affordable housing for urban poor and catering for psychological and social welfare. Client was also discovered to have become increasingly attached to the housing assistance and considered patron as important figures and protectors. It was argued that certain stakeholders have an important role in producing residential designs to empower and maintain the survival of urban poor.

Transforming the Past into Presence: In Dialogue with Eugenio Barba and Julia Varley

In this dialogical article, PatrickCampbell and Adriana La Selva of international research platform CrossPollination interview Eugenio Barba and Julia Varley of Odin Teatret, with afocus on the activities of the recently inaugurated NGO Fondazione BarbaVarley. Having left their institutional base, Nordisk Teaterlaboratorium, inDecember 2022 after 56 years of being rooted to a concrete theatrical space,Odin Teatret now work nomadically, developing new projects both within Denmarkand beyond. The Fondazione Barba Varley extends and builds on the legacy ofOdin Teatret, with a specific agenda to support and promote the “nameless” –theatre groups and independent artists working silently on the borders betweentheatre and activism. Derrida’s writings around the politics of friendship(Derrida 2005) serve as a loose critical framework for articulating thepotential dialogical avenues available once one abandons the appropriativedrive of institutionalisation. The conversation follows an organic flow, with afocus on dialogue and communication, the embodied dialogical tactics of thetheatre laboratory practitioner, and the current activities of the Fondazione,such as the Constellation of the Nameless, ISTA New Generation, The Journal ofTheatre Anthropology (JTA) and the Living Archive: Floating Islands. Theatricallegacy and its transmission are articulated as relational and interpersonal,grounded on a deeply personal process of “creating signs”: the generation ofpoetic forms that translate a pragmatic know-how forged over a lifetimededicated to art as activism.

Contemporary Black Theater as a Possibility of Intersectional Critical Praxis

Since the Brazilian black theater groups are growing up in cities such as São Paulo and other capitals from Brazil, it becomes necessary to investigate the impact of their productions and organizations in aesthetic, political, and cultural perspectives. In the work of Abdias do Nascimento, black theater used to be proposed as a way to reflect on its identity. This characteristic remains until the present with different demands and prisms. The aim of this paper is to analyze the contemporary play IDA, a work that has the identity as theme for the Brazilian black women, considering identity in its fragmentations and intersections. As a result, it is expected to offer a better understanding of both the political and aesthetic possibilities of contemporary black performing arts, especially in the face of identity disputes as intersectional critical praxis.

Those Who Will Join Us

“Those Who Will Join Us” reviews Bouchra Khalili’s multimedia installation The Circle (2023) in the context of Sharjah Biennial 15. The Circle was commissioned by Sharjah Art Foundation and won one of the biennial prizes, and suggests larger questions about what it means to be in the world, how we might remake the world, and what the role of art could be within this. The installation, which includes archival images and small televisions around a large two-channel video projection, is an investigation of the Movement of Arab Workers (MTA) and its theater groups, Al Assifa and Al Halaka. These agitprop t heater groups, formed by North African migrant workers and students like the rest of the MT A, were active in Paris and the south of France between 1973 and 1978. Khalili’s work particularly focuses on the 1974 presidential run of D jellali Kamal, a pseudonym for an anonymous Al Assifa member whose candidacy was seen as an extended public performance meant to reveal the ways in which migrants were denied civil rights.

Place as creative partner: placemaking with a university arboretum

ABSTRACT Conventional educational research often sidelines the role of physical environments, viewing them merely as settings. This study challenges this notion by exploring the symbiotic relationship between a university theater group and an arboretum. Through empirical ethnographic analysis, we investigate creativity and placemaking, emphasizing collaborative dynamics between human and non-human elements. Our findings reveal how imaginative engagement and literacy practices forge new connections with the environment, enriching sensemaking. This highlights the potential of integrating literary practices with environmental interaction. By reconceptualizing place as both a creative partner and a learning facilitator, we advance placemaking theories and refine methodologies for research in place-based and more-than-human learning.

Genre of Comedy Ballet in Music of Yurii Shevchenko as an Effective Tool for Overcoming Social and Psychological Traumas of War: on the Example of Ballet “The Adventures of Pinocchio”

The purpose of the study is to substantiate and reveal the cultural potential of the comedic ballet genre as an effective tool for overcoming the social and psychological traumas of war on the example of Yurii Shevchenko's ballet “The Adventures of Pinocchio”. The research methodology is based on the complex application of specifically scientific methods (historical, systematic-analytical, hermeneutic, and generalisation). The historical method is used to study the topic in its historical retrospective, understanding the origins, which helps to establish links between the studied ballet productions and the socio-cultural landscape of their creation and performance. The systematic-analytical method is applied to explain the art of interpretation, in particular, the content and semantic aspects of musical and stage works through the correlation of higher-order aggregates of different structural levels – composition, instrumental accompaniment, and the choreographic part of the production. The hermeneutic method is used to study the musical framework of ballets, which can have many different interpretations. The method of generalization is used to generalise common scientific principles and regularities, and helps to identify the overall trends in the development of ballet music in different periods of composer Yurii Shevchenko's work. The scientific novelty of the study lies in the consideration of the genre of comedy ballet as an effective tool for overcoming the socio-psychological trauma of war, which contributes to the restoration of the moral and psychological state of society, the improvement of morale, and the return of faith in justice. The ballet “The Adventures of Pinocchio” by Yuriy Shevchenko is presented, which is a vivid example of the composer's work in the context of the current conditions of the Ukrainian theatre. In the course of the study, the scientific justification of the comedy ballet genre is expanded and supplemented. Conclusions. The article reflects the significance of theatre music as an important component of the artistic and creative activity of theatre groups in modern conditions. The evolution of theatre music testifies to its connection with modernity, and also reveals a tendency to strengthen the role of art and culture in the education and support of positive social values. The direct connection of the creative tasks of theatre music with the present is observed. It is established that there is a consonance of manifestations in music of both traditional folklore motifs and new national and cultural characteristics, which allows it to become more emotional and understandable to the audience. It is stated that Ukrainian society, traumatised by war, is going through a difficult historical, moral, and spiritual period. There is a need for music, in particular, for theatre performances, which will play not only an aesthetic role, but will also become a means of restoring a positive attitude, help overcome war-related traumas, and have a powerful cultural and therapeutic function. It is shown that one of the vivid examples of the development of the comedy ballet genre in theatre music is the work of the famous Ukrainian composer Yurii Shevchenko and his ballet “The Adventures of Pinocchio”. This ballet is an apt example of how art can help maintain a positive attitude and hope for the future in difficult times of social disasters and become an important support for people during wartime. The story of Pinocchio and his friends, which is presented through classical dance, comedy ballet, grotesque, and pantomime, shows that good triumphs over evil in any circumstances. The ballet “The Adventures of Pinocchio” provides the audience not only with entertainment and relaxation, but also helps to maintain a positive attitude, hope for the future and is an effective tool for overcoming the socio-psychological traumas of war. Key words: genre of comedy ballet, ballet «The Adventures of Pinocchio» («Pinocchio and the Magic Violin» until September 2022), Yuriy Shevchenko, ballet theater, choreography, musical theater, stage art, musical art, academic and non-academic music, synthesis of musical and choreographic art, art therapy function, socio-psychological traumas of war.

Problema respectării drepturilor minoritîților naționale în activitățile politice ale reprezentanților ucrainenilor din Bucovina în anii 1928-1929

The death of King Ferdinand Ist and of the leader of the National Liberal Party I. I. C. Brătianu in 1927 laid the conditions for the change of power in Romania. The meeting in Alba-Iulia in May 1928 played an important role in the National Peasant Party coming to power, because the program of the party’s activities for the near future was announced there. After the government of I. Maniu came to power in November 1928, the representatives of the national minorities of Romania expected changes in the government's attitude towards the observance of the rights of national minorities, as well as the political regime liberalisation. The observance of the rights of national minorities for the Ukrainians of Bukovina was seen primarily in the return of the Ukrainian teaching language to the educational sphere adopted by the government. The resumption of activities was another issue after the abolition of the siege state in northern Bukovina, as well as Ukrainian educational societies, primarily the “Ruska Besida”, which performed tasks in educational activities through reading and amateur theatrical groups. The third issue, which should guarantee the implementation of the first two ones, was to obtain a sufficient number of seats in parliament for representatives of the Ukrainian community. From mid-October 1928 through February 1929, Ukrainian communities of Bukovina filed requests for teaching in Ukrainian. The newspaper “Chas” (Time) also dealt with this issue, publishing reports on the meeting of the communities. As a result, 199 applications were received with 30 thousand signatures, which gave the government grounds to talk about the possibility of introducing the corresponding number of teaching hours in schools of 139 communities. In general, the decision of the government in the field of teaching in the Ukrainian language was not made till December 1929 that caused concerns and statements from the Ukrainian side. Also, V. Zalozetskyi who was elected to the Senate in January 1929 made a statement about the loyalty of the Ukrainians of Bukovina to the authorities and motivated the need to introduce the Ukrainian language of teaching for Ukrainians. A number of statements concerning the need to study the state and Ukrainian languages in equal proportions was made by the communities. V. Zalozetskyi called the national consciousness of the Ukrainians of Bukovina not posing a threat to the Romanian statehood, but it could become a condition for preparing the intelligentsia for the future ‘non-Bolshevik Ukraine’. The restoration of the number of organizations of the “Ruska Besida” society led to the spread of the amateur theatre group activities. Such steps gave grounds, primarily to representatives of national liberals, to make statements about the demands of Ukrainians to remove the Romanian language from school. The active role in presenting the situation was played by the newspapers “Curentul” and “Universul”, describing the position and actions of national minorities too critically. In general, the Ukrainians turned out to be a very quiet minority comparing with the Hungarians’ protests and the situation in Dobrudja, although they were less organized to fight for the observance of their rights.

지역아동센터 아동들의 행복 증진을 위한 연극놀이 집단프로그램 개발 및 적용

The purpose of this study was to develop a happiness-enhancing theatrical play group program based on the ADDIE model for children at a local children's center. First, sub-factors related to happiness were analyzed to derive strategies for program development. Second, a draft program was developed based on the program design principles. Third, the program was revised and supplemented after an expert review of the program. Fourth, the program was implemented for 30 children at a local children's center in K city. Finally the program effectiveness was analyzed through children's satisfaction with the program, interviews, and social worker evaluations. The results showed that the group program based on theater play had a positive impact on the children's happiness. These results suggest that it is necessary to explore the approach of group programs based on theatrical play to improve the happiness of children in local children's centers.

783 Do We Need Laminar Flow in Trauma?

Abstract Aim Laminar flow in theatres has become standard of care in orthopaedic implant surgery. Most of the evidence for laminar flow use is based on arthroplasty surgery, with early studies showing significant reduction in infections. We conducted a retrospective comparative study to assess Surgical Site Infection (SSI) rates in consecutive patients undergoing surgery for trauma in laminar and non-laminar flow theatres. Method Due to COVID restrictions our trauma care provision was restructured. This resulted in trauma surgery being performed in non-laminar flow theatres. We identified consecutive patients who had trauma surgery pre and post pandemic from February 2019 to June 2021 to avoid selection bias. There were 1010 in laminar theatre group and 1000 in non-laminar theatre group. SSI rates within the first 90 days. The two groups were statistically similar in terms of age and gender of the patients. Results 28 patients developed surgical site infections in non-laminar flow theatres and 29 patients in laminar flow theatres. There was no significant difference between the SSI rate in laminar flow theatres (2.87%), as compared to non-laminar flow theatres (2.80%) (p = 0.92034). There was no link between infections and duration of surgery. 2 patients in the laminar flow group were MRSA positive and were excluded. Conclusions In our study, laminar flow theatres did not show a statistically significant reduction in surgical site infections. We conclude in the practical environment of trauma theatres; the theoretical advantage of laminar flow does not translate to an observable reduction of infections.

Igniting transformational change through applied theatre: Jardim Romano's Floods and Estopô Balaio unleashing an overflow of possibilities

ABSTRACT Applied theatre extends beyond traditional performance and entertainment, using theatrical techniques to address social issues and engage communities. In this paper, we emphasise the importance of a socially and politically engaged approach to Applied Theatre (AT) using Paulo Freire's and Augusto Boal's works as primary references to support transformational change and bring about social resistance. A small-scale case study was carried out with participants and collaborators of Estopô Balaio, a collective theatre group in Brazil that has worked for over a decade with a community in a deprived peripheral neighbourhood, Jardim Romano, in São Paulo. Key findings highlight the concept of feasibility in AT, where the collective's efforts overflowed with possibilities for change and empowerment by embracing its residents as collaborators and agents of change in their realities, being thinkers, makers, and citizens through continuous work instead of isolated actions.

Gabe Halak Batak; Batak Toba Ethnic Bodiedness Traditions as a Reference for Actor Training

Gabe Halak Batak is a term that was born from research on the bodiedness traditions of the Batak Toba people which means "Being a Batak Person". This research was conducted to take advantage of the bodiedness traditions of the Batak Toba Ethnic Community, one of which is Tortor. The author's interest in the tortor is because there are basic techniques in the tortor which are named metaphorically and through this naming can be an 'entrance' for actors in the process of exploring their physiology. In this study, the authors implemented it for actors from the Aka Bodi Theatre group in Medan who came from three different ethnicities. This study uses ethnographic and autoethnographic approaches in collecting data and interrogating the process of physiological exploration applied to acting training at the Aka Bodi Theatre. The results obtained are that each actor who participates in the training process experiences a variety of sensitivities related to the Batak Toba ethnic culture and has visual references regarding the creation of actions in the training.

Convergence of Theatre, Cinema, Amusement Park, and Video Game Design to Explore Parallel Interactive Narratives in Cinematic Virtual Reality

Table for Two is a short parallel interactive narrative in cinematic virtual reality. This virtual reality experience is a creative artefact that has adopted screen production enquiry as a practice-based research. This research aims to explore alternative narrative possibilities in virtual reality. Virtual reality is one of the latest disruptions in cinema that has challenged filmmakers with new methods for 360-degree storytelling. This challenge has led to several studies recommending grammar to guide the users’ gaze toward intended areas in the virtual environment. However, it is argued that this aspect limits the full potential of virtual reality. This study on parallel interactive narratives in virtual reality addresses this limitation. Here, the user is addressed as a navigator of the experience. Table for Two offers navigation freedom to look anywhere they desire in the virtual reality environment. A number of studies on virtual reality narratives suggests that theatre, cinema, amusement park and video game design techniques are relevant for virtual reality productions. This research describes how the fusion of these research fields and art forms contributed to new methods for exploring cinematic virtual reality and interactive 360-degree video narratives. Several studies suggest that virtual reality experiences have similarities with theatre, and therefore knowledge relating to theatre experiences can benefit virtual reality production. For this reason, the casting talent of Table for Two was selected from the local theatre group. It was observed that their experience with improvisations and performance for long takes significantly contributed to the virtual reality production. This paper refers to Linda Aronson’s description of parallel narratives in the context of cinema. Parallel narratives have been present in limited quantity through artistic experiments in early cinema. However, the rapid growth of interactivity in narratives has increased in parallel narrative forms in mainstream cinema. It is observed that parallel narratives are gradually emerging in virtual reality experiences. However, there is a lack of knowledge of the design and development processes. While there is a difference between cinematic and VR narrative, Aronson’s parallel narrative forms in cinema, such as tandem, multiple protagonist, double journey, split screen and consecutive narratives, can be applied in cinematic virtual reality. Additionally, space design in amusement parks reveals the significance of infusing the narrative into the set. One key feature called embedded narratives has been incorporated into the set design of Table for Two. Furthermore, interactive narratives for video game design played an essential role in shaping the navigation experience in Table for Two. Along with the influence of these mediums, Table for Two encountered unique challenges with the performance from multiple 360-degree cameras, customized script writing methods, integrating all filming material into the set design, and navigation interactivity, which does not alter the outcome of the story world. This paper discusses the challenges and considerations for creating a parallel interactive narrative in cinematic virtual reality. The theoretical discourse presented in this paper suggests how the convergence of various mediums contributes to new narrative possibilities in virtual reality.

COVERAGE OF THEATER ACTIVITIES IN UZBEK NATIONAL PRESS DURING WORLD WAR II

The services of the theater groups in the republic in the years of the Second World War in mobilizing the people to fight against fascism, providing cultural services to the population and thereby further increasing the productivity of labor are scientifically covered in this article based on the information in the Uzbek national newspapers published during the war.

Theatre: A medium of development communication: Case Study of two Theatre groups in Jammu

Over the ages, Theatre has played a vital role in spreading development communication among the societies. This paper attempts to introspect the role of Theatre as a mode of Development Communication in Jammu. This paper portrays the historical contribution of the Jammu Theatre. The paper is based on case study of two prominent Theatre groups of Jammu namely Natrang and Natraj Natya Kunj. The paper focuses on the part of theatre messages and its dissemination among the people. Interview method was used to collect the information from two focus groups. Information was further used to frame the conclusion, with reference to the role of theater directors, and their strategies behind the communication to create awareness in society. The theatre groups were chosen based on their track records as well as their popularity. The paper also highlights light the concept that Theatre is an important medium of communication that depicts community development and generating awareness among the people of Jammu.

O'Neill's Theatre: Arab Reviewers' Critics on Its Presentation and Appeal

One of the most contentious personalities in contemporary play is Eugene O'Neill. His life experiences and inner problems, which influenced his creativity and contributed to his renown as a dramatist, have drawn criticism from Arab and European scholars and critics. His theater stands out for its variety and is present everywhere. The page concentrates on four Arab reviewers: Brahim Alariss, Sameer Mohammed Ismaiel, Riyadh Assmat, and Dr. Yessin Attiya. They offer their perspectives on O'Neill and his work. The critic of Brahim Alariss is featured in the first section of this study and talks about O'Neill's accomplishments, his realistic approach, his styles and techniques from symbolic to naturalistic to expressionism to theater of masks as well as some personal matters. His theater stands out for its variety and is present everywhere. The article focuses on some of the reviews by Arab authors. In the second half, Sameer Mohammed Ismaiel discusses Hisham Kaferneh's efforts to revive "Desire Beneath the Elms" for a new performance by the Damascus National Theater Group. In the Syrian version, the program is categorized as "House of Desire." In the third section, Dr. Yessin Attiya writes on the usage of masks and the relationships between the characters in addition to explaining the role of the characters, monologues, and stage directions.The fourth section examines how the article "O'Neill Noble Prize in the Theater Excursion and the Search for Gold" “جائز أوجين أونيل في رحلة المسرح و البحث عن الذهب” in Meo Midst Online demonstrates O'Neill's talent, brilliance, and life experience. The piece by Riyadh Assmat, who discusses American theater celebrating the resurrection of Eugene O'Neill's work, is found in the last section (1888-1953). Keywords: Arab reviewers, form, experience, style, theatre, techniques DOI: 10.7176/JEP/14-13-05 Publication date: May 31 st 2023

SoloSIRENs Collective’s Cessair: Feminist Performed Ethnography

The SoloSIRENs Collective’s production Cessair, staged in South Dublin in the summer of 2021, represents the second production of this burgeoning company. The Collective is a community-based theatre group comprised of an all-female ensemble that has been creating together since 2019. For this production, it used the Irish myth of Cessair as a starting point to consider the female experience, and invited women from across the world to share their stories and lived experiences. Drawing on close observation of the devising process, analysis of the final production, and conversations with members of the Collective, this article argues that the production should be considered as an example of feminist performed ethnography.