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The Stories of Pre-Service Theatre Teachers Who “Resist’

Solorzano and Vollalpando claim that dominant groups may attempt to justify their position through the use of an ideology, "a set of beliefs that explains . . . some actual or potential social arrangement" (24). Montecinos explains that, in some instances, the use of a particular ideology or "master narrative" provides such a narrow depiction of what it means to participate in a group's cultural life that it "will . . . result in representation in which fellow members of a group represented cannot recognize themselves" (293-294). One such ideology identified by Tickle is the representation of the professional life cycle of teachers as sequential, as if it extends in a continuous direction from the pre-service period through to master teacher (Teacher Induction 12). At each stage individual contributions are lacking or limited, and the aim of teacher education is to remedy shortcomings in order to bring the individual more in line with the next stage (Reynolds 26). In this view, the work of pre-service teachers within a university setting represents the struggles individuals who have always been students experience as they begin to reposition themselves as teachers (Barnes 199). I assert that it is precisely this ideology of continuous development that creates, maintains, and justifies the use of "master narratives" about pre-service teachers in such a way that some cannot recognize themselves in those narratives. For preservice teachers, it may also mean having to survive within existing arrangements that give only sporadic focus to the development of the self, what Zehm calls the human dimension of teaching and learning (36). The muting of the powerful influence that personal histories and community contexts play in the development of pre-service teachers is supported in part, as Reay notes, by the notion that "the academy has traditionally demonstrated limited tolerance for lived experience which it dismisses as anecdotal or as stories" (qtd. in Anderson 139). In this study I take an ideological position that more closely aligns with what Tickle calls "abandoning continuity." Framed in this view of teaching, according to Tickle, is the investigation of learning to act within vicissitudes of personal lives, cultural norms, and schools (Teacher Induction 11). That is, within the teacher life cycle there is room for moving forward and backward, for turns and detours. A second point of emphasis is that the teacher is placed in a position of power, an acf ve subject negotiating his or her participation (Wenger 15). The narrative strategies pre-service theatre teachers engage in to create a teacher identity and the implications of these strategies for reconceiving their work are the focus of this article. The data for this study come from a focused inquiry into the hopes and fears of seven university theatre students who anticipated becoming teachers.' The pre-service theatre teachers selected for this study approached becoming a theatre teacher uncolored by particular experiences associated with experienced