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Drawing on the evolving autoethnographic play Mon histoire, ton histoire, the article reflects on a multi-day workshop where participants co-created personal and ancestral stories using movement, monologue, gesture, and dialogue. Centered on the “Baggage Carousel” monologue, the workshop demonstrates rhizomatic ways of knowing that blur performer–audience boundaries, enabling relational meaning-making, cultural reflection, and collaborative storying in diverse educational communities.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/mon-histoire-ton-histoire-entangling-research-pedagogy-and-theatre/290506/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/mon-histoire-ton-histoire-entangling-research-pedagogy-and-theatre/290506.png","ImageObject",300,407,{"name":92,"@type":93},"Aditya","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-29","2026-09-17",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",11,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"How does the article link Research-based Theatre with pedagogy and scholarship?","Question",{"text":113,"@type":114},"It argues that RbT entangles research, teaching, and art-making through embodied, relational inquiry that supports new forms of knowing in educational settings.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"What role does the autoethnographic play Mon histoire, ton histoire play in the workshop?",{"text":118,"@type":114},"The article draws on the evolving script and monologues from the play, using them as examples to support participants in co-creating personal and ancestral stories.",{"name":120,"@type":111,"acceptedAnswer":121},"What is the “Baggage Carousel” monologue used for in the study?",{"text":122,"@type":114},"It is the central monologue discussed, illustrating how theatrical practices invite rhizomatic inquiry and blur boundaries between performer and audience.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},290506,1789641890,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":39,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":130,"read_time":46,"preview_page_count":4},962085564549,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","Mon histoire, ton histoire: Entangling Research, Pedagogy and Theatre  \nGeorge Belliveau  \nAbstract  \nIn this article I explore ways Research-based Theatre (RbT) entangles pedagogy, scholarship, and art-making through embodied, relational inquiry. Drawing on the evolving autoethnographic play Mon histoire, ton histoire, I reflect on a theatre-based workshop in which participants co-created personal and ancestral stories through movement, monologue, gesture, and dialogue. Centering the monologue“Baggage Carousel,” I share how theatrical practices invite rhizomatic forms of knowing that blur boundaries between performer and audience, research and teaching, individual and collective memory. The workshop illustrates how arts-based inquiry can foster relational meaning-making, cultural reflection, and collaborative storying within educational spaces across diverse learning communities globally.  \nMon histoire, ton histoire  \nForty years ago I was in first year of a BA in Acting at Dalhousie University, expanding my creative self. I had no idea how that theatre training would play itself out or, as my parents were no doubt thinking, how this degree would get me a job! Over the years I have had opportunities to apply my training in traditional theatre, though for the most part I have woven this artform within pedagogical and research spaces. At a time when teaching, learning, and research are primarily experienced through screens and sitting at desks, dialogue around ways to consider embodied theatre-based approaches for pedagogy and scholarship seems critical.  \nTheatre, like other disciplines, has an array of theories and practices, though at its core it invites stories to be heard, seen, and felt through aesthetic approaches. Research-based Theatre (RbT) as a form of arts-based inquiry “shows” what was (and continues to be) discovered within research endeavors using theatre (Shigematsu et al., 2022; Belliveau & Lea, 2016) . To illustrate ways that theatre enables rhizomatic forms of inquiry, I describe a moment within a workshop that featured monologues from the emerging RbT play Mon histoire, ton histoire (Shigematsu et al., 2025) .  \nMon histoire, ton histoire loosely traces my ancestral narrative as a French Acadian. The autoethnographic play shifts from past to present, weaving stories that span over four centuries of Acadian identity, culture, and language. It draws on historical documentation about the Acadians,1 including scholarly articles and books, archival material, and expert interviews. Additionally, the play incorporates relational perspectives through ongoing conversations with relatives, personal journals, and engagement with contemporary Acadian culture (Belliveau, 2024) . For the past three years, I have been sharing monologues from the evolving script as part of university classes and workshops (masterclasses) locally  \nLEARNing Landscapes | Spring 2026, Issue 30 | 17  \nGeorge Belliveau  \nand globally to explore creative pedagogical and research approaches. Each offering has provided rich opportunities to discover further meanings within the monologues and, just as importantly, to inspire co-creation with participants to tease out the ton histoire (your story) element. The particular moment I share in this article took place during a multi-day workshop in 2025,2 where I facilitated a series of four 3-hour sessions (12 hours total) over the course of a week that inquired into the possibilities of theatre as a form of pedagogy and research.  \nThe participants knew the sessions would be interactive and that they would be invited to share small performative moments in groups. Woven within the facilitation and as part of the scaffolding, I offered“performed” examples to show this embodied methodology in action. I selected three monologues from Mon histoire, ton histoire, including “Baggage Carousel” shared below. By now, excerpts of the Acadian play have been performed over 20 times in different configurations in var","cbCaibExRuvxwaLk","https://ap.wps.com/l/cbCaibExRuvxwaLk","pdf",1050206,"English","# Abstract\n# Mon histoire, ton histoire\n## From theatre training to embodied pedagogy\n## Research-based Theatre as arts-based inquiry\n# The four-part workshop and participant engagement\n## Session structure and performed scaffolding\n## Describing the embodied moment\n# Context\n## Classroom spatial transformation and participant diversity","[{\"question\":\"How does the article link Research-based Theatre with pedagogy and scholarship?\",\"answer\":\"It argues that RbT entangles research, teaching, and art-making through embodied, relational inquiry that supports new forms of knowing in educational settings.\"},{\"question\":\"What role does the autoethnographic play Mon histoire, ton histoire play in the workshop?\",\"answer\":\"The article draws on the evolving script and monologues from the play, using them as examples to support participants in co-creating personal and ancestral stories.\"},{\"question\":\"What is the “Baggage Carousel” monologue used for in the study?\",\"answer\":\"It is the central monologue discussed, illustrating how theatrical practices invite rhizomatic inquiry and blur boundaries between performer and audience.\"}]","Mon histoire, ton histoire - Entangling Research, Pedagogy and Theatre | PDF"]