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Healthcare staff are encouraged to use feedback from their patients to inform service and quality improvement. Receiving patient feedback via online channels is a relatively new phenomenon that has rarely been conceptualised. Further, the implications of a wide, varied and unknown(able) audience being able to view and interact with online patient feedback are yet to be understood. We applied a theoretical lens of dramaturgy to a large ethnographic dataset, collected across three NHS Trusts during 2019/2020. We found that organisations demonstrated varying levels of 'preparedness to perform' online, from invisibility through to engaging in public conversation with patients within a wider mission for transparency. Restrictive 'cast lists' of staff able to respond to patients was the hallmark of one organisation, whereas another devolved responding responsibility amongst a wide array of multidisciplinary staff. The visibility of patient‐staff interactions had the potential to be culturally disruptive, dichotomously invoking either apprehensions of reputational threat or providing windows of opportunity. We surmise that a transparent and conversational feedback response frontstage aligns with the ability to better prioritise backstage improvement. Legitimising the autonomous frontstage activity of diverse staff groups may help shift organisational culture, and gradually ripple outwards a shared responsibility for transparent improvement. [ABSTRACT FROM AUTHOR]

This paper takes a new look at the role of narrative construction in sojourner adjustment through a case study of two female Korean entrepreneurs (selected from interviews with 10 Korean sojourners) to best differentiate their cultural adjustment from 'culture shock' in the UK. We review the literature on culture shock, beginning with Oberg's classic modernist/foundational 'transformational' model. The limitations of this model are shown in terms of the restricted focus upon individualistic, universal cognitive stages of change experienced by the sojourner. Then the benefits afforded by applying Goffman's dramaturgy and Weick's sensemaking approach are discussed. These approaches, informed by relationalist metatheory and metamethods, focus upon persons and interaction. They provide more collective, particularistic, social constructivist lenses that incorporate emotional, symbolic, communicative and linguistic viewpoints to complement cognitive explanations. The narrative methodology employed is that of Barbara Czarniawska whose work is heavily influenced by Goffman and Weick. [ABSTRACT FROM AUTHOR]

This article describes the first 'Writing Space' project, held in the Department of Performing Arts, University of Winchester. The purpose of this project was to test a structure that would engage diverse writers in an inclusive, nonhierarchical conceptual dialogue, leading to the production of a series of short, experimental texts. The article considers the relationships produced between participating writers/artists and performers, as well as the dialogues that took place within and between the performed texts themselves. The article is presented as a series of linked speculations about the range of relationships taking place between texts, writers and performances. Commenting on some of the more conventional thinking within the UK theatre, I argue that greater awareness - or interest in - the collaborative and dialogic element within theatre and performance writing practices could lead to a transformation of dramaturgical strategies among and between writers and other artists. [ABSTRACT FROM AUTHOR]

In Alan Lyddiard's 2003 adaptation of Wim Wenders' Wings of Desire the setting of the late-1980s Berlin was fully translated into the present-day Newcastle-upon-Tyne. Designed by Neil Murray and incorporating John Alder's original film footage, the production also featured members of the community in conjunction with the Northern Stage ensemble. Partly forming a retrospective analysis of the process from my point of view as the company and production dramaturg, this essay explores the ways in which the Newcastle production functioned as an exercise in 'translating a city'. The account of the adaptation process is framed by an analytical discussion of the original text and its transition into a particular socio-political context, in conjunction with an interrogation of the phenomenology of translation and Wenders' deliberate synaesthetic approach to the material. Finally, the article seeks to conceptualize the text with regard to its apparent inter- and cross-cultural mobility. [ABSTRACT FROM AUTHOR]