The Routledge Performance Archive is a developing resource produced in partnership with Digital Theatre, providing unique access to an unprecedented range of audio-visual material from past and present practitioners of performance. This ground-breaking and constantly growing online collection delivers essential resources direct to the classroom, lecture theatre and library. The video material spans more than fifty years of documented work direct from renowned practitioners and specialists, and ranges across the entire spectrum of theatre topics.
Browse the Archive through our list of practitioners, ranging from legendary figures to contemporary pioneers. Trace connections between individuals and entire movements, via specially commissioned biographies and peer-reviewed cross-referencing. All biographical information and video descriptions come direct from the practitioners themselves, unless otherwise stated.
Explore content thematically through our carefully structured taxonomy, and reflect on fascinating new relationships between concept and content. All entries have been taken from Paul Allain’s and Jen Harvie’s Routledge Companion to Theatre and Performance (Routledge: London, 2006), and are edited by Maggie B. Gale, unless otherwise indicated.
Laboratory Theatre refers to a scientific location for experiment and, applied to theatre practice, is used to denote concentrated and consistent experiment at the root of the theatre-making process.
Environmental theatre aims explicitly to alter the conventional spatial practices of performance and to enhance the performance’s engagement with its space and site of production.
Maria Osipovna Knebel (1898–1985), actor, director, teacher, and author, is arguably the most influential figure in twentieth-century Russian theatre, next to Stanislavsky.
Postmodernism & Performance
Challenging ideas of coherent identity, universal value and truth as not only impossible but also duplicitous, postmodernism explores how meaning is always multiple and contingent on contexts.
A grouping of performers or theatre-makers, preferably with a extended professional commitment, working either as part of an individual performance or as part of an established company.
Dance is central to any study of performance and, in non-Western cultures, dance’s many manifestations are often inseparable from the theatre.
Actor, director, writer, flautist, mask-maker and teacher, Antonio Fava has worked with Dario Fo and Jacques Lecoq and founded Teatro del Vicolo with Dina Buccino.
Suprapto Suryodarmo has taught and performed in Indonesia, Europe, the UK, Australia, the USA, Mexico, Japan, India and the Philippines for over twenty-five years.
Alexey Levinsky is an expert biomechanics practitioner working in Moscow. He was trained with Meyerhold’s collaborator, Nikolai Kustov, in the early 1970s at the Theatre of Satire.
Examples of solo performance have existed since records of theatre and performance activity have been available, but often here the ‘solo’ involves the delivery of some sort of monologue or soliloquy.
Hamlet’s advice to the players begins with speech, rather than gesture, in his direction, ‘Speak the speech, I pray you, trippingly on the tongue.’
Michael Chekhov (1891–1955) developed a creative and imaginative approach to acting that continues to inspire actors around the world.
Adriano Shaplin is a New Jersey-based playwright, actor, and artistic director of the Riot Group theatre company.