Community-engaged theatre projects are host to a complex dynamic set of tensions, particularly when volunteers from a specific community are partnered with visiting professional/industry artists or ‘systems convenors’. These tensions are given nuance in regional Australia, where community-engaged projects frequently utilise metropolitan-based artists to facilitate creation with local partipants, implicitly indicating that ‘regional’ may be conflated with ‘amateur’. The authors seek to interrogate the tensions at the heart of creating genuine rapport through the ‘training’ of un-trained participants in community-engaged projects. This paper focuses on one such project by the Queensland Music Festival, The Power Within (2017), built in collaboration with the Isaac Shire Council in central Queensland. In particular, the paper draws on the experience of one adolescent in the process: Sam, who credits The Power Within as beneficial in establishing his emerging personal identity. In this, the authors draw upon the work of Orr and Shreeve (2018 Orr, S., and A. Shreeve. 2018. “Art and design pedagogy in higher education: knowledge values and ambiguity in the creative curriculum.” Higher Education 78: 183–184.[Crossref] , [Google Scholar]) to demonstrate the relationship between personal and community identity. Further elucidation is gained through the work of Margaret Archer and Pierre Bourdieu to explore the deeply reflexive nature of face-to-face training in the unique environment of remote Central Queensland. This reveals the nuances at the crucible of atypical, informal and imposed training that can operate within community-engaged theatre projects in regional Queensland. Ultimately, for Sam, the key learnings from the project assisted in the establishment of himself as a professional make-up artist, an outcome entirely unpredicted by the creative leadership team tasked with collaborating with him. The authors posit it is this unpredictability that renders the training within community-engaged arts projects unique and bespoke.

社区参与的剧院项目面临着一系列复杂的动态紧张局势，特别是当来自特定社区的志愿者与来访的专业/行业艺术家或“系统召集人”合作时。这些紧张关系在澳大利亚的偏远地区有细微差别，在那里社区参与的项目经常利用大都市艺术家来促进与当地参与者的创作，暗示“区域”可能与“业余”混为一谈。作者试图通过对社区参与项目中未受过培训的参与者的“培训”来探究建立真正融洽关系的核心紧张局势。本文重点介绍昆士兰音乐节的一个这样的项目，The Power Within(2017)，与昆士兰中部的艾萨克郡议会合作建造。特别是，这篇论文借鉴了一位青少年在此过程中的经历：Sam，他认为The Power Within有助于建立他正在形成的个人身份。在此，作者借鉴了 Orr 和 Shreeve ( 2018Orr, S. 和 A. Shreeve。2018 年。“高等教育中的艺术与设计教学法：创意课程中的知识价值和模糊性。” 高等教育78：183-184。[交叉引用]  , [谷歌学术]) 来证明个人身份和社区身份之间的关系。通过 Margaret Archer 和 Pierre Bourdieu 的工作，进一步阐明了在偏远的昆士兰中部独特环境中面对面培训的深刻反思性质。这揭示了可以在昆士兰地区社区参与的剧院项目中运作的非典型、非正式和强加培训的严酷考验中的细微差别。最终，对于 Sam 来说，从该项目中获得的关键经验帮助他确立了专业化妆师的地位，而与他合作的创意领导团队完全无法预测这一结果。作者认为，正是这种不可预测性使社区参与的艺术项目中的培训变得独特和定制。