Same but different - What elements can affect, limit and shape the creative process while devising physical theatre in a student theatre cultural exchange?

The project
This 60-minute theatre work was created with ten CSU students and ten Bolivian students then performed to a community audience of 100 people. The aim of this project was to inquire into the creative process through studio research and identify key elements that can affect, limit and shape devised theatre work during a student cultural exchange.
Research Background
This inquiry builds on the understandings of Performance Studies pioneer Richard Schechner's Performance Process model with specific focus on the Proto Performance Phase. Research ContributionExisting literature has not applied Schechner's time/space framework to a physical theatre creative work such as this. This work shows the results of the studio research through performance for the benefit of the community, companies facilitating and hosting these projects, and researchers more broadly interested in the creative process.
Research Significance
After analysis of the process and creative work, several significant findings emerged. Resonating with Victor Turner's notions of social drama as expressed by Schechner's diagram (2006, p. 77), the performance mirrored the experience of the participants in chronology and theme. Time became the primary element that influenced the performance process in the view of the cast as well as myself. In an effort to overcome limitations of time and the mirroring affect of social drama on aesthetic work, an awareness that the creative process begins earlier than the Schechnerian Performance Process is valuable. References: Schechner, R. (2006). Performance studies: an introduction. New York: Routledge.