Relevant bibliographies by topics / Devising Theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Devising Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Devising Theatre"

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Schmor, John Brockway. "Devising New Theatre for College Programs." Theatre Topics 14, no. 1 (2004): 259–73. http://dx.doi.org/10.1353/tt.2004.0010.

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Hafler, Max. "Operating theatre: A theatre devising project with fourth-year medical students." Journal of Applied Arts & Health 3, no. 3 (January 1, 2013): 309–19. http://dx.doi.org/10.1386/jaah.3.3.309_1.

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Camilleri, Frank. "Inverting the Formula: Devising through Adaptation." New Theatre Quarterly 33, no. 3 (July 10, 2017): 240–53. http://dx.doi.org/10.1017/s0266464x1700029x.

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Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.
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Castillo, Debra A. "Devising as Pedagogical Practice in Latin American Theatre." Latin American Theatre Review 50, no. 1 (2016): 61–77. http://dx.doi.org/10.1353/ltr.2016.0060.

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Oddey, Alison. "Show and Tell: the delights of devising theatre." Studies in Theatre Production 15, no. 1 (January 1997): 43–50. http://dx.doi.org/10.1080/13575341.1997.10806946.

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Hallewas, Anita. "Researching and devising youth theatre: Loss of voice and agency through parachute theatre." Youth Theatre Journal 33, no. 2 (July 3, 2019): 153–62. http://dx.doi.org/10.1080/08929092.2019.1688745.

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Popat, Sita. "The online devising process: creating theatre through Internet collaboration." Studies in Theatre and Performance 23, no. 2 (October 2003): 87–105. http://dx.doi.org/10.1386/stap.23.2.87/0.

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Harries, Guy. "Opera, devising and community: A creative and pedagogical methodology." International Journal of Community Music 13, no. 3 (December 1, 2020): 271–82. http://dx.doi.org/10.1386/ijcm_00027_1.

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Create An Opera! was a fortnightly devising workshop led by the author at Theatre Delicatessen studios in London in 2017–20. It was free to the general public and attracted participants including both experienced and inexperienced performance practitioners. It aimed to create a safe, inclusive environment for experimentation in writing, composition and collaborative performance. This initiative arose from the author’s interest in challenging the sociopolitical traditions and hierarchical infrastructures associated with opera production. Inspired by the ethos of devised theatre, the workshops created a space for participants to be involved in both creative and performance aspects, working individually and collaboratively. This article presents the pedagogical and creative methodologies informing the delivery of the workshops, focusing on inclusion, collaboration and independent creativity.
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Wessels, Anne. "Plague and paideia: sabotage in devising theatre with young people." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (February 2012): 53–72. http://dx.doi.org/10.1080/13569783.2012.648986.

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Dixon, Steve. "Autonomy and Automatism: Devising Multi-Media Theatre with Multiple Protagonists." Studies in Theatre Production 18, no. 1 (January 1998): 60–80. http://dx.doi.org/10.1080/13575341.1998.10806990.

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Dissertations / Theses on the topic "Devising Theatre"

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Wang, Wan-Jung. "Reminiscence theatre : devising and performance." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497265.

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This dissertation aims to explore the devising and performance of Reminiscence Theatre. It will focus on defining its aesthetic characteristics and its political, social and cultural significance. Two case studies-the works of Uhan Shii Theatre Group in Taiwan and Age Exchange Centre in the U. K. will be employed as demonstrated practices. The exploration is divided into three sections: the politics, poetics, and ethics of Reminiscence Theatre. The chapters on politics investigate the political implications of Reminiscence Theatre in local and global society. I will argue that Uhan Shii Theatre Group presents anti-colonial theatre performances from the perspective of post-colonialism and postcolonial feminism. Age Exchange Centre and Uhan Shii's works both act as a means of social intervention examined from the standpoint of cultural geography with the potential for reshaping social spaces with performances. Their model of cross-cultural communication challenges current theories and practices of intercultural theatre. Their performance of oral histories subverts the dominant historical narratives. The chapters on poetics demonstrate the characteristics of the poetics and aesthetics of reminiscence theatre in the production and reception process. The three main arguments are: firstly, Reminiscence Theatre transforms signs of memory into signs of art in the devising process, resonating with Deleuze's theory in Proust and Signs; secondly, Uhan Shii'sperformance reflects ancient Japanese Wabi-Sabi aesthetics highlighting the transience of time; thirdly, Reminiscence Theatre's reception process expands the cultural horizons of audience and performers based on Gadamer's hermeneutics. The chapter on ethics focuses on the argument that Reminiscence Theatre puts ethics into practice and re-examines modem ethical relations through its devising and performing process. Both ancient Chinese philosophies' emphasis on the practical and aesthetic aspect of ethics and Levinas' philosophy of ethics and the concept of nomadic ethics will be applied to support my argument
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Fitzgerald, Keith G. "Theatre Triad: An Approach to Devising Collaborative Ensemble Theatre." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2971.

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Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.
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Whittle, James. "Music is theatre : devising musical performance." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/17202/.

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This portfolio comprises twelve pieces that blend music, theatre and movement, working predominantly with instrumentalists and solely in acoustic performance. The defining principle of the portfolio is that music is theatre: music is as much a visual as it is an aural art. The theatre of music – musical gestures, the musician’s body, and musical performance contexts – is treated as compositional material. The portfolio demonstrates a development from a compositional to a collaborative devising process practice that incorporates techniques from contemporary theatre, dance and performance art. This approach advocates the use of workshop activities focused on enabling musicians to develop movement material. In collaborations with musicians, dancers and performance artists, the role of the composer was merged with that of a director, dramaturg, performer and choreographer. Several site-specific and participatory works also concern the role of the audience.
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Lennon, Mary C. "DEVISING EMPATHY: WORKING WITH DEVISING, THEATRE FOR YOUNG AUDIENCES, AND THE SNOW QUEEN." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5325.

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This thesis presents a workbook for creating a course that combines researching both theatre for young audiences and devised theatre to create a touring production and company. Devised theatre is a form of theatre where the script originates from collaborative creation, improvisation, and physical movement. This course explored the past, present and future of theatre for young audiences both domestically and abroad. Students worked in a collaborative effort devising and producing a TYA piece based on Hans Christian Anderson’s The Snow Queen and studied the child audience through reading assignments and practical experience. This thesis is intended to showcase the value of teaching college undergraduate how to perform TYA productions as well as to show how devised theatre can help foster the actor’s creativity and help to reach a whole new generation.
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Pugh, Ian Bradford Ngongotoha. "“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366467614.

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Maedza, Pedzisai. "Theatre of Testimony: An investigation in devising Asylum." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/6848.

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The use of testimonies in performance is enjoying increased artistic and critical popularity on contemporary world stages and has a long and rich tradition on South African stages. Both internationally and locally, emerging and established playwrights working on migration and refugee issues are seeking to incorporate the testimony of asylum seekers into their work. This necessitates a need to critically reflect on the influences that shape and structure the staging of testimonies. This study argues that increased migration and the mounting number arrivals of asylum seekers on South African shores, has motivated at times violent interaction between host communities and the new arrivals. These incidents have inspired a distinct trend of testimonial performances around the concept of asylum. This dissertation uses Narrative analysis to read examples of contemporary theatre of testimony plays that examine this phenomenon. The study examines how playwright positioning informs the structuring of asylum testimonies on stage in addition to contextualising the ethical and moral complexities the playwright's positionality places on their practice. Through three case studies, the study interrogates how playwright positioning informs notions of authorship, authenticity, truth, theatricality and ethics. The study further investigates the challenges speaking for 'self' and speaking for the 'other' place on testimonial playwrights.
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Sterrett, Brandon A. "MEDEA MYTH: Devising and Producing Text-Free Theatre." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4276.

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This paper describes my learning journey as I began to flesh out my system of devising and the resultant aesthetic. The research subject was the production of a new movement play titled Medea Myth. This one act play is a totally devised piece without any text. Unlike some devised work, this play is meant to tell a clear story and was focused on cross-disciplinary collaboration. In investigating the work, I have broken it up into three distinct phases: Inception, beginning at the inciting incident and ending with the first clear storyline; Development, picking up that storyline and developing it to a sequence of full scenes; Production, where the scene sequence is finalized and the show is polished. Concluding each chapter is a section on the learning outcomes of each phase and how I will adjust my methodology in the future. I chose to write this paper in the style of a guide to producing similar work using my experiences with Medea Myth as an object lesson.
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Willcuts, Bradley. "Devising, Revising and Rehearsing in a 30 Year War." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3865.

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Abstract DEVISING, REFINING, AND REHEARSAL IN A 30 YEAR WAR By Bradley Harris Willcuts, M.F.A. A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015 Thesis Chair: David Leong Devising, Refining and Rehearsing in a 30 Year War is an account of the process of developing movement and choreography for the production of Mother Courage and her Children at Arena Stage in Washington D.C. It was my largest project during the two years I spent at Virginia Commonwealth University studying an MFA. The title reflects the chronological process that my mentor, director, and colleague David Leong and I went through to produce the work that earned a Helen Hayes Nomination for Outstanding Choreography in a Play. The show starred Kathleen Turner and was directed by acclaimed artistic director of the Arena Stage, Molly Smith. The demands of the work not only had serious responsibilities, but they also asked for a higher caliber of iv work than I had ever been a part of before. It proved to be the single most influential theatrical experience of my career. The movement work needed to be approached with great research and merit due to the highly stylized nature of the project and the national acclaim for it’s opening. This thesis documents that process and the successful outcome of the work which David Leong and I spent over 8 months on.
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Henry, Meghann. "DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2884.

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This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Glazier, Marnie Jane. "Eco-Theatre and New Media: Devising Toward Transnational Balance." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/564.

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This dissertation seeks to address the pivotal ecological and technological realities of the twenty-first century, currently giving rise to new patterns of existence and new paradigms of human inquiry. This study will ask how technological innovation and environmental urgency have altered the ways in which human beings think, and thus perceive the world around them, changing human behavior, or non-behavior, and calling forth new imperatives for the arts, and namely for the Theatre. Most significantly, the dissertation attempts to traverse the shadow-lands, between our ecologies and our technologies, exploring those essential points of convergence in the borderlands where Eco-Theatre and New Media must find a precious balance. As digital media and new technologies continue to transcend previously conceived barriers, so do new opportunities present themselves. New forms emerge, bridging cultures, facilitating connections of thought beyond national geographic boundaries. Rising to the challenge, seeking a global, even playing ground in a liminal age of shifting, invisible borders, this dissertation addresses the current need for re-envisioning of our positionality as artists, and as citizens of the world. In conclusion, the dissertation points toward a methodology of interdisciplinary creative collaboration, of global community-based social practice art, of theatre ecology, and of active new media strategies to address the needs of this decisive age.
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Books on the topic "Devising Theatre"

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Devising theatre: A practical and theoretical handbook. London: Routledge, 1994.

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1971-, Hoggett Steven, ed. The Frantic Assembly: Book of devising theatre. New York, NY: Routledge, 2009.

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Dijk, Bert Van. Devised theatre: A practical guide to the devising process. Plimmerton, N.Z: Bert van Dijk, 2011.

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Devising in process. Basingstoke, Hampshire [England]: Palgrave Macmillan, 2010.

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1967-, Milling Jane, ed. Devising performance: A critical history. New York: Palgrave Macmillan, 2005.

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Heddon, Deirdre. Devising performance: A critical history. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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Govan, Emma. Making a performance: Devising histories and contemporary practices. Abingdon: Routledge, 2007.

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Oddey, Alison. Devising Theatre. Routledge, 2013. http://dx.doi.org/10.4324/9781315002569.

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Crossley, Mark, and James Yarker. Devising Theatre with Stan’s Cafe. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474267083.

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Since it was founded in 1991, British theatre company Stan’s Cafe has garnered an international reputation for artistic innovation, and prolific, eclectic performance projects. Their work has toured nationally and internationally, with 2003's Of All The People In All The World having been performed in over fifty cities around the world. Embracing site-specific, immersive, durational, non-text-based as well as scripted work, Stan's Cafe's portfolio defies simple categorization. Running through all their work however is a collaborative devising process that champions a playful experimentation with form. Devising Theatre with Stan’s Cafe reveals and reflects on their theatre-making process, providing an illuminating and accessible account of their work and the approaches, techniques and philosophies which underpin and inspire it. Co-authored by artistic director James Yarker and Dr Mark Crossley, the book is places their work within wider context of contemporary theatre and is the perfect companion to anyone looking to make their own original theatre or performance work. For theatre students, fans and theatre-makers, Devising Theatre with Stan’s Cafe is an inspiring account and practical guide to contemporary performance practice
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Devising Theatre with Stan's Cafe. Methuen Drama, 2017.

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Book chapters on the topic "Devising Theatre"

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Lane, Samantha. "Devising Theatre." In Directing Young People in Theatre, 111–33. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_9.

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Heddon, Deirdre, and Jane Milling. "Devising and Political Theatre." In Devising Performance, 95–129. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-42678-9_4.

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Knowles, Ric. "Script Analysis and Devising." In How Theatre Means, 127–68. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-44228-4_5.

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Radosavljević, Duška. "Devising and Adaptation: Redefining ‘Faithfulness’." In Theatre-Making, 56–84. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367884_3.

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Pickering, Kenneth, and Mark Woolgar. "Devising and Writing for the Theatre." In Theatre Studies, 119–38. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_8.

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Wessels, Anne. "Devising as Pedagogy." In Key Concepts in Theatre/Drama Education, 131–34. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_21.

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Rhinehart, Brian. "Play, Devising, and the Creative Process." In Why the Theatre, 62–68. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003017615-11.

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D’Cruz, Glenn. "Devising Postdramatic Theatre in the Academy." In Teaching Postdramatic Theatre, 151–79. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_7.

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Perry, Mia. "Devising Theatre and Consenting Bodies in the Classroom." In Cartographies of Becoming in Education, 93–108. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-170-2_8.

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Alexandrowicz, Conrad. "Devising in the era of climate crisis." In Theatre Pedagogy in the Era of Climate Crisis, 86–101. Abingdon, Oxon ; New York : Routledge, 2021. | Series: Research and teaching in environmental studies: Routledge, 2021. http://dx.doi.org/10.4324/9781003087823-9.

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Conference papers on the topic "Devising Theatre"

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Bluff, Andrew, and Andrew Johnston. "Devising Interactive Theatre." In DIS '19: Designing Interactive Systems Conference 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3322276.3322313.

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