ABSTRACT
This chapter explores the mothering processes in academic writing and theatre-making, questioning how the mothering experience influences both practices. It analyses the one-year creative process of making the Wonderwoman show and explores working models with children in the rehearsal room. In 2015, Tina Hofman and Kristina Gavran started a theatre company called Notnow Collective out of the necessity to create while mothering and mother while creating. Their dual identities of mothers and artists gave great creative potential, where both roles had to be negotiated and innovative processes established. Through chickenpox and diaper changing, structure problems in the script and practising a little teapot dance, new dramaturgies were developed. It was a dramaturgical intervention that welcomed interruption from children and made it an integral part of the performance as well as heavily relied on the support of others. The process of writing this chapter is also exposed, showing how the early stages of motherhood influence the role of academic writer. The writer is working with interruptions, tensions, and re-negotiation of expected norms, presenting a fragmented piece that puts the personal and hidden into focus.
