Acknowledgment of country

Polyglot acknowledges that Aboriginal and Torres Strait Islander people are the Traditional Custodians of the lands on which we live and create, and we pay our respects to Elders past and present. For more than 65,000 years, children and families have created and played here, and we are grateful to make our art on this country too.


Case Study

When the World Turns

Polyglot Theatre joined forces with pioneer disability theatre company Oily Cart (UK) to make a new work for young people across time, distance and cultures. Co-directed by Sue Giles AM and Ellie Griffiths, it combines our expertise in participation, children’s agency and inclusive, accessible work that recognizes and removes barriers with sustainable, eco-scenographic practice.

Commissioned by Arts Centre Melbourne for major arts and disability festival, Alter State, When the World Turns premiered at the inaugural festival in September 2022. In Australia, a second season is being presented by Bunjil Place in September 2023, and an in-schools version is currently in development.

A When the World Turns production photo. A Polyglot artist brushes a branch across a large 'tent' of wrinkled brown paper that is illuminated from within. They are in a darkened space filled with plants. Photographer: Theresa Harrison

“Eventually, the child audience members realise they are leading the performance. The performers are responding to their noises and sounds; these are creating the shape and experience of the performance… There is an exquisite sense of joy and play permeating the room.”

Dr Sarah Austin, The Conversation

Polyglot in action

  • Underserved audience:

    When the World Turns was created specifically with and for young people with complex disability who face the greatest barriers to access. It is an experience for them and their families and schools that prioritises their point of view.

  • Sustainability:

    Biophilic principles led the concept development and sensory experience. A sustainable design approach by eco-scenographer Dr Tanja Beer placed pre-production, performance and post-production in a circle of equal consideration. Touring and future iterations of the work focus on transfer, not transport, with different scales to enable greater access for presenting partners.

  • Participation & experience:

    This high-quality artistic work enables participation through all the senses for young sensory beings, and freedom to interact and move through the space. The development saw deep engagement with Disabled young people through schools, spending time with classes to understand fully the audience and their reaction to theatrical elements.

  • People & relationships:

    Polyglot has an established relationship with Arts Centre Melbourne, our commissioning partner, who trust us to create new, innovative works for young audiences through genuine collaborative processes. We also established a new corporate partnership with ecoDynamics to enable the quality and power of the set design. This continues for future seasons, and is based on shared values and a focus on a sustainable future.

    The Polyglot team knows how to meet challenges and work like a well-oiled machine to make complex works a success. Experience is essential for experimental works of scale. We engaged two new performers who came through our creative exchanges with Rawcus and Western Edge, and a VCA graduate as stage manager – they all work with Polyglot regularly.

“I’m not in my head but in my body and I feel moved and changed. I’m not the same person, performer or artist I was when I first came on board. Because of us and the kids and families and the group and company culture. Because of the content, focus, values and integrity of the work and the team. Because of the playfulness and hilarity, the chaos and the clarity of the process, the feedback and guidance and learnings; and importantly because of the children and all their families, carers, teachers and supporters. It did feel like a jump in the deep end and there is more to process and more that will click or sink in with time and practice.

Tirese Ballard, Generator artist

 

A When the World Turns production photo. A large indoor space, divided into circles with plants, theatrically lit. People sit at small tables in the centre of each circle. Photographer: Theresa Harrison

Parent feedback:

“We felt very special and looked after the whole time, felt comfortable and my partner’s words, ‘felt like we weren’t burdening anyone’, and like the experience was just for us.”

A When the World Turns production photo. An adult shows a message written on wrinkled brown paper to a child, who is smiling. They are surrounded by green plants. Photographer: Theresa Harrison

Educator feedback:

“We’ve taken them to things before and there’s only been one thing or one activity they could do, so it’s nice to come to something that’s all about them.”