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Journal articles on the topic 'Devising Theatre'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Naraine, Mala D., Margot R. Whitfield, and Deborah I. Fels. "Who’s devising your theatre experience? A director’s approach to inclusive theatre for blind and low vision theatregoers." Visual Communication 17, no. 1 (September 26, 2017): 113–33. http://dx.doi.org/10.1177/1470357217727678.

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In this article, the authors present the first documented implementation of a director-produced and delivered audio description (AD) for devising theatre. In a single live, audio-described performance of Highway 63: The Fort Mac Show at Theatre Passe Muraille in Toronto, Canada, the director/describer’s artistically informed approach focuses on entertainment value for blind and low vision (B/LV) theatregoers. In-depth, semi-structured interviews with the director/screenwriter/describer garnered insight into a director’s unique perspective on the development process for the integrated approach to AD, including her artistic choices, expectations and delivery style as a first-time amateur director/describer. The process of developing and delivering integrated AD had a transformative effect on her as a director.
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12

최영주. "Complicite’s Devising Dramaturgy as a Performative Practice a Theatre-making and Aesthetics." Journal of Drama ll, no. 55 (June 2018): 157–206. http://dx.doi.org/10.15716/dr.2018..55.157.

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13

Goodman, Lizbeth. "Devising As Writing: British Women Theatre Writers and Educators Demand Contractual Status." TDR (1988-) 34, no. 2 (1990): 17. http://dx.doi.org/10.2307/1146022.

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14

Manteli, Vicky. "Devising the Performance, Comedy Festival by Neos Kosmos Theatre (review)." Theatre Journal 65, no. 1 (2013): 120–23. http://dx.doi.org/10.1353/tj.2013.0004.

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15

Lipkin, Joan. "On the Case for Devising Theatre for Social Justice on College Campuses." Theatre Topics 26, no. 2 (2016): 255–60. http://dx.doi.org/10.1353/tt.2016.0044.

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16

Turner-King, Rachel. "Questioning collaborative devising in a post-truth era: Crafting theatre with youth." Youth Theatre Journal 33, no. 2 (July 3, 2019): 94–106. http://dx.doi.org/10.1080/08929092.2019.1688212.

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17

Lee, David Ian. "A Beginner’s Guide to Devising Theatre by Jess Thorpe and Tashi Gore." Theatre Topics 31, no. 3 (2021): 269–70. http://dx.doi.org/10.1353/tt.2021.0050.

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18

Harvie, Jen. "DV8's Can We Afford This: The Cost of Devising on Site for Global Markets." Theatre Research International 27, no. 1 (February 14, 2002): 68–77. http://dx.doi.org/10.1017/s0307883302001074.

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London-based DV8 Physical Theatre makes company-devised hybrid dance/theatre performance which consistently is socially committed, exploring the power dynamics of different forms of social inclusion and exclusion. The company's 2000 show, Can We Afford This, focused particularly on social prejudice about ‘the body beautiful’. Using seventeen dancers of different physical and technical abilities, ages, genders, and sizes, the show both critiqued prejudices about what constitutes the body beautiful and posited other, more inclusive, images of beautiful bodies. This analysis considers how the show's argument was focused and enhanced in its original context of devising and production (Sydney, Australia, in its Olympic and Paralympic year of 2000) and, in contrast, was dissipated and generalized when it moved out of that context to tour to the international markets of London and Hong Kong.
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19

Weltsek, Gustave. "Devising in the Pandemic: Trauma and a Dramatic Redesign of a Youth Theatre Tour." International Journal of Designs for Learning 12, no. 1 (April 12, 2021): 171–80. http://dx.doi.org/10.14434/ijdl.v12i1.31291.

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Z402 Youth Theatre Tour was designed from a critical performative pedagogical positioning (Weltsek, 2019). Here learning emerges from how individuals and communities perform their emergent identities as they cross literal and metaphorical socio-cultural borders. Z402 resulted in a 100% student created new play, parallel workshop, and study guide. This new play was based solely upon the students’ perspectives, voices, and ways of being. The design used devised theatre, the use of improvisation and games, to create a new play versus a solely written approach. The new play dealt with healing in the face of suicidal thoughts. The course addressed four Indiana educational licensing requirements; student technical, artistic, educational, and class practicum experiences. In March 2020, due to the novel coronavirus (COVID-19) pandemic, the University instituted obligatory Online instruction. Students redesigned their stage play into a virtual experience using Zoom and integrated their emotional struggles due to pandemic isolation. The live play, slated for three schools, is now accessible to a large virtual audience
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20

Shevtsova, Maria. "Lev Dodin's ‘Musical Dramatic Art’ and the World of Opera." New Theatre Quarterly 20, no. 4 (October 25, 2004): 341–53. http://dx.doi.org/10.1017/s0266464x04000235.

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Lev Dodin has broken numerous boundaries with the Maly Drama Theatre of St Petersburg, the company he has directed since 1983. Their collective devising, explorations, and discoveries for a repertory theatre based on the long-term development of its actors and the change, over time, of its productions make Dodin and the Maly unique on the international stage. Maria Shevtsova, whose recently published book Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004) closely follows the company's work, here details Dodin's direction of opera, which, she argues, is inextricable from his approach to the theatre as such. Her discussion refers to opera productions which feature in her book, but she pays particular attention to Salomé and The Demon which, staged in 2003, could not be included in it. She also indicates Dodin's relation to such directors of opera as Strehler and Sellars. This article is a revised version of her keynote address at the FIRT/IFTR Annual Conference held in May 2004 in St Petersburg on the theme ‘The Director in the Theatre World’. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths' College, University of London.
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21

Mermikides, Alex. "Brilliant theatre-making at the National: Devising, collective creation and the director’s brand." Studies in Theatre & Performance 33, no. 2 (May 1, 2013): 153–67. http://dx.doi.org/10.1386/stap.33.2.153_1.

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22

Woodhouse, Fionn. "A Passion for the Arts." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 92–93. http://dx.doi.org/10.33178/scenario.11.2.6.

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I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...
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23

Santamarta Espuña, Lluís. "Tourism&Theatre. To be or not to be?" Tourism and Heritage Journal 1 (October 16, 2019): 132–43. http://dx.doi.org/10.1344/thj.2019.1.8.

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This project seeks to study the TourismTheatre phenomenon. The main proposal of the research is to highlight strategies of how an urban destination can make, from its inherent theatre products and theatrical culture, a tourist attraction.The methodology undertaken has been an exploratory search of qualitative information thanks to exhaustive in-depth interviews with theatrical and tourism professionals and companies. Currently, London and New York are the most successful examples of TourismTheatre destinations. However, examples from other western destinations are devising alternatives strategies.Surprisingly, the conclusion that the project has unearthed is that tourism accessibility is the key to TourismTheatre phenomenon. In destinations where theatre is not yet a tourism attraction, tourist managers should focus on making the art form more reachable for tourist consumption (content accessibility, communication campaigns, distribution channels, etc.). Thus, the creation of a tourism accessibility company applied to theatre could be the most feasible strategy to adopt.
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24

Mahoney, Kristin, and Rich Brown. "Devising and Interdisciplinary Teaching: A Case Study in Collaboration Between Theatre and Humanities Courses." College Teaching 61, no. 4 (October 2013): 143–49. http://dx.doi.org/10.1080/87567555.2013.817378.

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25

Thompson, James. "No More Bystanders: Grandchildren of Hiroshima and the 70th Anniversary of the Atomic Bomb." TDR/The Drama Review 61, no. 2 (June 2017): 87–104. http://dx.doi.org/10.1162/dram_a_00649.

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2015 marked the 70th anniversary of the American atomic bombing of the cities of Hiroshima and Nagasaki. Amidst the commemorations in Hiroshima, London Bubble Theatre staged a performance created by an intergenerational Japanese cast from interviews with elders who experienced the day. Grandchildren of Hiroshima, in its performance and devising, troubled the idea of a nuclear war “bystander,” proposing that in fact there are no more bystanders, and all are participants in the history of the bombs’ performative power.
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26

Riccio, Thomas. "Shadows in the Sun: Context, Process, and Performance in Ethiopia." New Theatre Quarterly 28, no. 3 (August 2012): 272–95. http://dx.doi.org/10.1017/s0266464x12000450.

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Andegna (The First) was developed and performed during the fall and winter of 2009–10 in Addis Ababa, Ethiopia. This article examines the complex social, political, and cultural contexts that informed the training, workshops, and process of creating an ensemble and performance in a time of national transformation. Urbanization and the crossing currents of Africa, Islam, Christian Orthodoxy, capitalism, the West, and technology prompted the re-conceptualization of performance, its function, and expression. In this article Thomas Riccio highlights the methodologies of reinventing an indigenous performance that is respectful of local traditions yet contemporary and accessible. He discusses how performance provides a forum for revealing social, political, and cultural trauma, and itself becomes an act of affirmation – an assertion of protest and healing that makes visible, immediate, and tactile the histories and unresolved issues haunting modern Ethiopia. Thomas Riccio, is Professor of Performance and Aesthetic Studies at the University of Texas at Dallas, having previously been Professor of Theatre at the University of Alaska Fairbanks, Artistic Director of Chicago's Organic Theater Company, Resident Director and Dramaturg, the Cleveland Play House, Assistant Literary Director at the American Repertory Theatre, Visiting Professor at the University of Dar es Salaam and the Korean National University for the Arts, and Artistic Director of Tuma Theatre, an Alaska Native performance group. He has worked extensively in the area of indigenous performance, ritual, and shamanism, conducting workshops, research, and devising numerous performances in Africa, Russia, Siberia, Korea, China, Vietnam, and Alaska. He was declared a ‘Cultural Hero’ of the Sakha Republic in central Siberia.
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27

ESTRADA-FUENTES, MARÍA. "Performative Reintegration: Applied Theatre for Conflict Transformation in Contemporary Colombia." Theatre Research International 43, no. 3 (October 2018): 291–304. http://dx.doi.org/10.1017/s0307883318000548.

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Civil wars and internal armed conflicts are commonly followed by transitional justice processes known as Disarmament, Demobilization and Reintegration programmes. Focusing on the social reintegration of ex-combatants in Colombia, this article examines the role of embodiment and secondary care in conflict transformation, and outlines the process of incorporating creative and embodied practice as core elements of transitional justice mechanisms. It discusses the relational qualities of applied theatre, policy development and implementation to demonstrate how embodied practice enables peace-building practitioners and ex-combatants to develop a better understanding of how affective transactions and emotional states shape transitional societies. In so doing, this article discusses some of the challenges of devising sustainable arts-based interventions when working with communities that have been significantly affected by war.
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Wade, Cameron. "#UsToo: A Musical Comedy about Sexual Assault and Harassment." Drama Therapy Review 6, no. 2 (October 1, 2020): 129–48. http://dx.doi.org/10.1386/dtr_00024_1.

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#UsToo debuted at the 39th Annual Conference of the North American Drama Therapy Association. It was written and performed by the author as an autoethnographic therapeutic theatre performance investigating her experiences with sexual assault and harassment perpetrated by members of the drama therapy community. This article includes an annotated version of the script with a discussion on form, content, aesthetic choices and embodiment. This article concludes with a synthesis of authorial learnings and outcomes throughout the devising, rehearsal and performance processes.
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Stoate, Gaenor. "Developing learning partnerships through Mantle of the Expert at NCEA Drama Level 2." Set: Research Information for Teachers, no. 3 (November 1, 2014): 45–51. http://dx.doi.org/10.18296/set.0326.

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Shared learning underpins learning communities and partnerships. This article draws on case study data generated from shared perceptions of the use of inquiry pedagogy, Mantle of the Expert, applied to a drama-devising process at NCEA Level 2. Students, teacher, and researcher were positioned together as members of THEATRON, a fictional professional theatre company commissioned to develop original, devised drama for festival audiences. Reflective discourse observed while the company was working in role is seen to have had a positive effect on the development of effective collaboration between teacher and learners.
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Streeter, Joshua Rashon. "Devising Critically Engaged Theatre with Youth: The Performing Justice Project by Megan Alrutz and Lynn Hoare." Theatre Topics 31, no. 1 (2021): 66–67. http://dx.doi.org/10.1353/tt.2021.0013.

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31

Horn, Elizabeth Brendel, Belinda C. Boyd, and Megan Shero. "(Re)Discovering Story and Voice: The Adaptive Community Theatre Project." Canadian Journal of Disability Studies 8, no. 3 (May 24, 2019): 41–65. http://dx.doi.org/10.15353/cjds.v8i3.507.

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The Adaptive Community Theatre Project (ACTP) at the University of Central Florida (UCF) served to honor the voices and stories of community members with aphasia and other acquired neurocognitive disabilities, while combatting the isolation and depression often felt by this demographic. This paper will explore the ways in which the pilot year programming of ACTP evolved over time, due in part to the primary author’s perceived disinterest of the neuroatypical participants. Though initially the neuroatypical participants expressed interest in the project, erratic rehearsal attendance, transportation issues, cognitive fatigue, and stage fright presented challenges for the participants and created obstacles to the theatre process. This led to multiple modifications, including shifting from an ensemble-based mixed-ability devising model to an ethnographic model, and shifting from a full performance to a staged reading and community discussion. This paper offers an overview of the ACTP and the challenges that led to multiple structural revisions throughout the development of the project. Written from the perspective of the ACTP artistic director, a reflection and analysis on the project’s pilot year concludes with a proposed model for successful community-based theatre work with participants with acquired neurocognitive disabilities and neurotypical volunteers. This paper asks: What are the best practices for creating theatre with/for participants with neurological/neurocognitive deficits? What tensions in objectives, communication, and access arise when a team of neurotypical individuals creates artistic and extracurricular programing for neuroatypical individuals? And how can neurotypical theatre-makers interested in accessibility and inclusion adapt their approach to rise to the challenges presented by these tensions?
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32

Burchill, Antoinette. "Conflictual sociability? A paradoxical approach to politicized street theatre." Art & the Public Sphere 10, no. 2 (November 1, 2021): 165–73. http://dx.doi.org/10.1386/aps_00056_1.

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In Agonistics (2013), Chantal Mouffe highlights sociability and notes its potential for artists in devising agonistic counter-hegemonic performances. However, sociability as an isolated factor is unlikely to produce politicized dissent. Instead, therefore, a politicized form of conflictual sociability is created by applying Mouffe’s notion of a ‘conflictual consensus’ (an agreement between opponents to disagree) to art practice. By applying paradoxical thinking to the performance of dissent in the public realm, the article argues for sociability in service of politicized critique. The potential of conflictual sociability is examined through guerrilla street theatre performances, an artform with the capacity to generate unauthorized and participatory incursions into the urban public realm. Firstly, via autoethnographic reflections upon a practice-based research project, The Wizard of Oz (2015) performed in London, United Kingdom; and secondly, in analysis of Dread Scott’s Money to Burn (2010) performance in Wall Street, New York, United States. Conflictual sociability offers a novel methods-led process of engaging agonistically with passers-by (publics) and transforming them into activated participants. Because it is engaging, conflictual sociability creates spaces of public dialogue that antagonistic conflict potentially shuts down. This reveals an effective pedagogy for facilitating agonistic politicized dissent through performative practices in the public realm.
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33

Klein, Stacy. "On Double Edge Theatre." New Theatre Quarterly 27, no. 1 (February 2011): 41–59. http://dx.doi.org/10.1017/s0266464x11000042.

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Founded in Boston by Stacy Klein in 1982, initially as a women's theatre, Double Edge moved to Ashfield in Massachusetts in 1997 to the rural complex now known as the Farm Center. The Farm comprises rehearsal rooms, living quarters, technical workshops, an ante-room to welcome and dine spectators, a magnificent loft-like performance space, and acres of land with trees and a pond. The whole is set against a soft New England landscape, and the Farm's grounds are the almost idyllic environment for the summer promenade spectacles that, like its more formal productions indoors, provide a focus for locals, sustaining their sense of community and even the myth of community nurtured historically in these parts. In this conversation of 13 and 14 November 2009 (which was extended in August 2010 after The Firebird, the summer spectacle of that year), Stacy Klein discusses how local people support Double Edge and otherwise form a long-term relationship with the company, now visited by spectators as well as practitioners from further afield – Klein's Polish teachers and mentors among them. Double Edge is a devising company, working with improvisation and free association to form strong visual imagery through pronounced physical movement, which also involves circus skills. This, together with a frequently startling use of objects, is the basis of their magical realism (notably in the unPOSSESSED of 2004, after Don Quixote), a style developed by the company in its rural retreat, and subsequently combined with the tonalities of grotesque surrealism. The Republic of Dreams, for instance, inspired by the life and work of Bruno Schulz, enters the world of vivid dreams, powerful memories, and nostalgic echoes, the whole evoking an evanescent past into which its agile, versatile performers – some singing, some dancing – tune in, like ghosts absent and present in one and the same instance. The two productions noted here are part of what Klein calls a ‘Cycle’ – a grouping of works that have evolved over a number of years as separate pieces, some beginning life as a summer show before they grow and link with the other pieces of a given Cycle, which is almost always a trilogy. Gradual, consistent development is key to the company's work, as is its belief in a distinct company ethos, which its trainees are invited to share. Maria Shevtsova, who enjoyed the Farm's hospitality when she talked with Stacy Klein, holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London, and is the co-editor of New Theatre Quarterly.
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Gatt, Isabelle. "Devising multimedia theatre with young performers: Documenting the Marinando Festival's XANDRU U X-XIXA (X&X)." International Journal of Performance Arts and Digital Media 8, no. 2 (September 18, 2012): 205–20. http://dx.doi.org/10.1386/padm.8.2.205_1.

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35

Jordão, Aida. "Collective Creation, Collaboration and Devising. Critical Perspectives on Canadian Theatre in English (Vol. 12) (review)." Canadian Theatre Review 143, no. 1 (2010): 97–98. http://dx.doi.org/10.1353/ctr.0.0050.

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36

Campos, Liliane. "This is Not a Chair: Complicite's Master and Margarita." New Theatre Quarterly 30, no. 2 (May 2014): 175–82. http://dx.doi.org/10.1017/s0266464x14000281.

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In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This dynamic is explored here both on a semantic level, as a consequence of Complicite's physical language, and on a narrative level, through the use of framing and frame-breaking devices. The article highlights the company's recurrent themes and the defining traits of its performance style. Liliane Campos is a Lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris. She has published various articles on British drama and performance, and two books about the role of science in contemporary writing and devising for the theatre.
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Ward, Nigel. "The transcultural body: Kolkata re-membered." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 227–37. http://dx.doi.org/10.1386/safm.4.2.227_1.

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This article explores the tensions that surround the effort to make intercultural performance. In particular it draws on the author’s experience of making a cross-cultural devised theatre project for the British Council in India, working with Indian performers and largely western devising techniques. This is contextualized by a discussion of the work of some key practitioners in this area, such as Eugenio Barba, Jerzy Grotowski and Tatsumi Hijikata. Barba’s notion of ‘travellers of speed’ is discussed, as is the critique of such ideas by Phiip Zarilli, among others. The attempt to make a performance space that transcends culture is contrasted with the experience of making performance in a context where cultural specificity is written through every aspect of the work and expresses itself within the bodies of the performers themselves.
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38

Wang, Wan-Jung. "Combating global issues of land reform, urbanisation and climate change with local community theatre devising and praxes in Taiwan." Research in Drama Education: The Journal of Applied Theatre and Performance 22, no. 4 (October 2017): 506–9. http://dx.doi.org/10.1080/13569783.2017.1366263.

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39

Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (November 2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.

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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1
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40

Walling, Michael. "Border Crossings: The First Twenty-Five Years." New Theatre Quarterly 37, no. 2 (April 29, 2021): 137–58. http://dx.doi.org/10.1017/s0266464x21000038.

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Michael Walling here looks back over the first twenty-five years of Border Crossings, the company he founded in 1995. The article explores the company’s intercultural remit, placing it within the wider context of multicultural and intercultural performance and policy, and the relationship between intercultural theory and practice. Structural questions around finance and organization are juxtaposed with an assessment of the dynamics of cross-cultural devising and the ethics of these collaborations. This article also explores Border Crossings’ text-based work, its curation of the ORIGINS Festival of First Nations and related ceremonies, and the company’s direct engagement with policy in the European Union. It is accompanied by a comprehensive chronology of the company’s productions. Michael Walling is Artistic Director of Border Crossings and Visiting Professor at Rose Bruford College. He has directed numerous productions across four continents, including opera as well as theatre.
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McKean, Annie. "Playing for time in ‘The Dolls’ House’. Issues of community and collaboration in the devising of theatre in a women's prison." Research in Drama Education: The Journal of Applied Theatre and Performance 11, no. 3 (November 2006): 313–27. http://dx.doi.org/10.1080/13569780600900685.

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42

Scally, Garrett. "Let Me Hear Your Body Talk: Experiencing the Word for Additional Language Development." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 111–38. http://dx.doi.org/10.33178/scenario.13.2.8.

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This article describes a research project created to investigate the application of theatre devising strategies to create a heightened awareness of non-verbal language and embodied experience of words in second language acquisition (SLA) learning and teaching. This is in response to the tendency in SLA teaching to lack an understanding of the importance and the potential of the body’s involvement in the process. Four workshops in Basel, Switzerland were designed and facilitated with adults from distinct cultural and linguistic backgrounds as part of my doctoral research from February-March 2013. I use data generated by an ethnographic approach to fieldwork by analysing interviews, written responses in the project blog (both by the participants and my own), and observations of responses from participants during the workshops. I discuss the theatrical activities used for this purpose reflecting on the possible effects on participants’ linguistic ability and awareness of their physicality as part of an ongoing research process. I draw on Bourdieu’s notion of linguistic habitus and Merleau-Ponty’s notion of the ‘body experiencing the world’ to provide a theoretical framework for analysing the processes of these workshops. These frameworks also support the development of a theatre practice to support SLA that I am tentatively calling “experiencing the word”. I propose that this approach better provides the pragmatic and social conditions, re-created and rehearsed through drama, needed in learning an additional language. This can be done by turning attention to language learning as an embodied experience.
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43

Wilson, Harry. "Mark Crossley and James Yarker Devising Theatre with Stan's Cafe London: Bloomsbury, 2017. 280 p. £21.99. ISBN: 978-1-4742-6704-5." New Theatre Quarterly 34, no. 2 (April 19, 2018): 198–99. http://dx.doi.org/10.1017/s0266464x18000155.

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44

Heddon, Deirdre. "‘Glory Box’: Tim Miller's Autobiography of the Future." New Theatre Quarterly 19, no. 3 (August 2003): 243–56. http://dx.doi.org/10.1017/s0266464x03000149.

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Performance artist Tim Miller has been making autobiographical work for more than twenty years. Dee Heddon explores Miller's recent show, Glory Box (2001), arguing that, both in his practice and his use of his own life stories, he is attempting not only to connect with but to energize his audiences, transforming them into activist spectators. One tactic Miller employs in Glory Box is futurity – performing an autobiography that he has not yet lived. This future is one that Miller compels us collectively to rewrite, inviting us to change his potential life and life-story in the process. Dee Heddon argues that Miller's commitment to and faith in the transformative potential of live performance enacts a resistance to those pejorative terms too easily thrown at autobiographical performance: Miller may work from his ‘self’, but his work is far from solipsistic, egotistic, or narcissistic. Dee Heddon makes and teaches autobiographical performance, and her writing has appeared in Performance Research, Studies in Theatre Production, Research in Drama Education, Reconstructions, and M/C. Her Devising Performances: Histories and Practices, co-authored with Jane Milling, is forthcoming from Palgrave.
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Pfeiffer, Kerstin, Michael Richardson, and Svenja Wurm. "Translaboration in the rehearsal room." Target. International Journal of Translation Studies 32, no. 2 (May 21, 2020): 358–79. http://dx.doi.org/10.1075/target.20061.pfe.

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Abstract This article explores the role of translaboration in an area where collaborative translation and co-creative processes intertwine: a bilingual devised theatre rehearsal room. Scholarship has tended to focus on translated plays as cultural products and on the difficulty associated with making bilingual theatrical products accessible to unilingual audiences. Here, however, our focus is on translation within the creative process. We use two bilingual projects as examples. Each project brought together participants from two cultural backgrounds: in one case, German and Czech young people; in the other, deaf and hearing people from the UK. Possessing varying bilingual competencies, these participants employed their shared communicative repertoire to ensure the collaborative creation of new, bilingual theatrical material. Their diverse communication strategies can be regarded as translanguaging: a fluid, non-hierarchical practice that challenges the notion of uni-directional translation from a source text. We argue that in this setting, translanguaging is the practice that enables translaboration. This practice is compromised by the imposition of top-down structures that inhibit the organic development of democratic and potentially transformative environments in which problematic power relationships can be reworked. Such transformativity relies on collaboration in both devising and translation, co-creation and translaboration, and the two are mutually interdependent.
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Ledger, Adam J. "‘Does What?’: Acting, Directing, and Rehearsing Martin Crimp's Fewer Emergencies." New Theatre Quarterly 26, no. 2 (May 2010): 121–32. http://dx.doi.org/10.1017/s0266464x10000266.

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In this article Adam J. Ledger reflects upon his recent experience of directing Martin Crimp's Fewer Emergencies. The play – a triptych comprising ‘Whole Blue Sky’, ‘Face to the Wall’, and ‘Fewer Emergencies’ – is one of a number that have been described as ‘open’, a term suggesting the absence of definitive meaning, defined characters, identifiable locale, or ‘traditional’ dramaturgy, a type of writing which has also been allied to the aesthetics of Lehmann's ‘postdramatic’. Without the ‘dramatic’, the actor may need alternative points of focus in the task of performance. In Fewer Emergencies, Crimp's stage directions also state ‘time: blank, place: blank’. What implications for acting might this provoke? Further, how can physicality be developed within such a relentlessly linguistic piece? After discussing particular rehearsal exercises, this article examines how the development of the performance moved closer to devising. However, despite the apparent openness of the text, Ledger suggests how Crimp resists ‘postdramatic’ labels and that his text can be seen as ‘closed’. Adam J. Ledger completed a PhD on rehearsal process and new work at Exeter in 2007, and is now a lecturer in drama and theatre practice at the University of Hull. He publishes on performance practice and has a particular interest in the Odin Teatret. He directs and leads projects both in the UK and abroad.
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Brown, Rich. "Moment Work: Tectonic Theater Project’s Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams." Theatre Topics 29, no. 1 (2019): 80–81. http://dx.doi.org/10.1353/tt.2019.0008.

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Sautter, Richard. "Moment Work: Tectonic Theater Project's Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams et al." Theatre History Studies 38, no. 1 (2019): 244–46. http://dx.doi.org/10.1353/ths.2019.0026.

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49

Pinchbeck, Michael David, and Kevin Egan. "Staging Scores: Devising Contemporary Performances from Classical Music." Volume 8 8, no. 1 (January 4, 2022). http://dx.doi.org/10.16995/olh.4684.

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In this article, Egan and Pinchbeck combine Postdramatic Theatre (Lehmann, 2006), Composed Theatre (Rebstock and Roesner, 2012) and Score Theatre (Spagnolo, 2017) to address the representation of classical music in two separate contemporary performances they were involved in making. Egan addresses the question of ‘adapting scores’ in relation to Plane Performance’s Traviata (2010), where Verdi’s operatic score became the main ‘text’ from which the company were able to deconstruct and re-imagine the opera as a piece of contemporary theatre; one that celebrated the complexities and subtle nuances of the classical composition and brought a ‘sense’ of the opera to a contemporary theatre audience. The research focusses on the feedback loop between performance score and music score as an additive process of ‘musicalising’ the performance and ‘theatricalising’ the composition. Taking Etchells’ understanding of the interplay between ‘re-enacting and reactivating’ the score (2015) alongside Roesner’s sense of sampling as ‘the transformation of a citation into composable material’ (2016) the research examines the useful exchanges that emerge between the disparate texts of the performance world and the many ‘texts’ present in the music score. Pinchbeck addresses how to ‘stage scores’ by reflecting on Concerto (2016). The research is framed by Ravel’s instruction to conductors to ‘follow the score’ and biographises a piece of music (Concerto for the Left Hand). Using verbatim text, autobiographical and postdramatic devising techniques and archival research, the work advances Rebstock and Roesner’s definition of ‘composed theatre’ (2013) and Adrian Curtin’s ‘orchestral theatre’ (2019) by using music to structure theatre in both form and content. Concerto ‘stages scores’ by creating post-dramatic, post-traumatic performance and de-constructing/de-orchestrating post-conflict narratives around its original composition to reconfigure the relationship between audience and performer into an immersive and embodied ‘theatricalised concert’ (Bonshek, 2006).
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"Call for Papers: Special Issue on Devising Theatre." Theatre Topics 14, no. 1 (2004): vii. http://dx.doi.org/10.1353/tt.2004.0002.

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