Interventionist agendas in applied theatre constantly require scrutiny into the problematic claims of transformation and empowerment. There is a need to examine the power structures that underline any kind of work done with disempowered communities, where applied theatre practitioners are often in positions of 'privilege' and 'authority'. In this paper, I draw together the discussions surrounding these issues, paying attention to the call for a more ethical practice when dealing with representations made in the process of applied theatre work. Importantly, I recognise that these demands can leave facilitators feeling vulnerable, especially when things do not go well. Instead of ignoring them, I propose that 'acts of stammering' - moments of uncertainty - serve as points of reflection for the facilitator. Drawing on an example of a project with disabled people, the notion of 'aesthetic nervousness' is then used as a lens to better understand the act of stammering encountered by the facilitator. (Abstract)
