Out of the Fringes: An Intersectional Feminist Analysis of Postsecondary Acting Training in English Canada
Bibliographic record
Abstract
Taking as its central question, “What can be learned about the discipline of Drama, Theatre and Performance Studies by paying attention to student and alumni perspectives?”, this dissertation examines the influence of the #MeToo and #BlackLivesMatter movements on postsecondary acting training programs in English-speaking Canada. Employing intersectionality as a critical social framework, this research examines the operations of power and privilege in the context of the undergraduate acting classroom. Through analysis of existing statistical data of undergraduate cohorts in the field of Drama, Theatre and Performance Studies, qualitative data available through social media hashtag counterpublics, and interviews with students and alumni of undergraduate acting training programs, this research considers student perspectives of the pressing changes needed in the undergraduate performing arts program. Considering student protests, social media activations, and academic interventions as “resistant knowledge projects” (Patricia Hill Collins), this dissertation argues for the interventionist capacity of student bodies to incite institutional change. Applying the lens of The Undercommons (Harney and Moten), this dissertation questions whom the onus is put upon to better academic institutions. Hashtag activist movements on social media, public student testimonies, and “Calls to Action” issued to university departments, have instigated renewed attention to transparency of postsecondary anti-harassment policies and protocols. In turn, such interventions have seen a shift in culture in acting training spaces, with emerging anti-oppressive pedagogies which pay attention to the intersectional lived realities of students. By propelling change at classroom, program, and institutional levels, student interventions through #MeToo and #BlackLivesMatter are ushering in a culture shift for the discipline of Drama, Theatre and Performance Studies.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.004 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.003 | 0.005 |
| Science and technology studies | 0.032 | 0.018 |
| Scholarly communication | 0.012 | 0.003 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.006 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".